Bar 1-2-3
The opening theme is presented by the Tenor section. Taking a descending motif from E to A, the phrase gradually increases in length. Alway starting from where it left of, the melody jumps the E again, descending 1 extra note which each phrase, reaching to A. The same theme is presented in Soprano and Bass sections in different octaves, as if he is trying to to present the colours that he will be using.
Bar 6
It is the first time that 4 sections sing all together. It has a very interesting and symmetrical structure. Soprano and Bass sections have the M-voice, perfectly mirrored. Soprano section is following the descending towards and ascending towards pattern while the Bass section is following an ascending towards and descending towards pattern. This creates a contrary motion for the outer voices, two melodies to focus on. Alto section serves as a T-voice for the Sopranos, close position and alternating while the Tenors are taking the role of T-voice for the Bass section, also close position and alternating. This section is over and A-E, creating a strong foundation for all of this movement.
Bar 5
A similar approach is presented between the Tenor and Bass section. The bass section has the M-voice, following a mirror image construction of the previous M-voice in Soprano sectionn, starting with descending towards and following with ascending towards. The Tenor section has the role of T-voice, following the melody in close positions, alternating. This bar is still on an A pedal. Bar 5 is the first time we hear two voices at the same time.
Bar 10
This bar has an interesting M-voice construction. The first one that I have ever seen in this style, it seems that A is the center and it follows a descending from and ascending from pattern from E and G, the neighbour tones, creating a beautiful illusion in tonality. This is also because of it happening over a B pedal, first time in the piece. Tenors are serving as a T-voice, alternating in close poisiton and the right hand of the organ (8' violins) are presenting the 3rd or 4th position superior T- voices, creating interesting and open textures.
Bar 12-13-14
A personal favourite in the piece. The beginning theme is presented by the Bass in a reverse motion, starting from A and descending towards E. Using the same material in this alteration ties the two sections together, preparing the listener for another climax. In thhe following bars, 13 and 14, Sopranos and Tenors present the same idea in different voices, again presenting the new colours.
An den Wassern zu Babel Sassen Wir und Weinten (1976/1984)
for SATB and organ
Another very good example of combinations and variations of decending from the source and ascending towards the source, it also includes a beautiful example of T-voice in different variations, accompanying the M-voice in different positions and through different voicings.
The constant, ever growing nature of the piece is very meditative, a structural crescendo, keeps adding more voices, withdraws them only to bring back more voices until the very end. At bar 19, the listener is hit with a wall of sound. 4 different melodies, starting at a perfect 5th interval, combining both ascending towards the main note and descending toward the main note, adds more note to each phrases. Supported by a E pedal and doubling of the melody, the piece drops back to silence, letting the audience contemplate on the experience.
Slightly a lesser known piece, a through analysis of this piece has revealed many details about the way Arvo Pärt thinks and I believe this piece to be essential of study to anyone who wantx to learn about his compositional techniques. A comprehensive analysis of each section is presented below.
Bar 4
Taking A as a center, the Soprano section is singing an M-voice, following a ascending towards and descending towards pattern. Increasing the phrase length by one note every two groupings. The 8' Flute in organ serves a T-voice, alternating (starting from inferior) close position. It is over an A pedal, to emphasise the A minor tonality. The T-voice and M-voice combination creates a beautiful interaction and movement between voices, which is one of the highlights of this piece.
Bar 8
A similar constructed M-voice is presented by the Tenor section, only a 5th above, starting from B, emphasising the shift towards E Phyrgian modality even more, over a one octave E pedal in the organ.
Bar 16
A similar construction to bar 15, Bass section plays the same melody as bar 15 an octave lower with a reverse pattern, descending instead of acending. Tenor section is an alternating T-voice in close position. The organ is similar to bar 15, an octave lower.
Bar 18
Preparing the listener for the apex, this if the first bar for all individual sections to have their own M-voice, without an accompanying T-voice. Built on the notes A and E, it follows a mirror image in both movements and between sections. Either descending and ascending towards or ascending towards and descending towards their respected starting points, this is one of the highlights of the piece.
Bar 19
Last bar and the highest point of the piece. Each voice having their own M-voice, they are also doubled with the Organ, over an E pedal. Giving an unresolved feeling at the end with an ambiguous chord, letting the listener complete it with their imagination.
- Soprano descends from A to D. Ascending towards, descending from
- Alto descends from E to A. Ascending towards and descending from. Always ascending to E end descending from there, increasing in length.
- Tenor ascends from E to B. Descending towards and ascending from, always going E and ascends towards the next note.
- Bass ascends from A to E. Descending towards and ascending from, following a similar pattern to the Tenor section.
Bar 11
An almost peak and strong moment in th piece. The Soprano and Bass section presents a mirrored M-voice, starting from the neighbouring notes of A (G and B). Sopranos are following descending from and ascending from while Bass sections is ascending from and descending from, creating a beautiful outer section. The Alto and Tenor section are fillers, serving as T-voices to the closes M-voice in close and alternating positions. A first time in this piece, the Organ serves almost as a piano reduction, doubling every section in their respected octaves, over an A pedal which solidifies A minor tonality again. This is the strongest moment in the piece up until now, serving as an apex.
Bar 15
The Sopranos introduce a new M-voice construction where the line revolves around A but approaches the last note with a repetition of A as well, creating mandatory jumps and repetitions to follow this rule. The T-voices in the organ is constructed in a way that right hands plays the open positions above and the left hand plays alternating close positions.
Bar 7
Reducing the dynamics and going back to only one section singing, Pärt introduces a new M-voice construction. The Bass section is taking the E as a center over an E pedal (played by the organ, 8' Oboe), we have shifted from and A minor tonality towards an E phyrgian modality. While E always serving as a starting point, the M-voice is following a descending from and ascending from pattern, increasing the length of phrase by on note for each pattern.
Bar 17
The outer voices play a mirrored iamge of the previously presented M-voices, creating contrary motion. The Altos and Tenors play alternating T-voices to the closes voice in close position. The low register in organ is doubling the bass, emphasising the foundation.
Bar 9
An important moment in the piece, the Soprano section sings a similarly constructed M-voice, starting from A but over a E-B pedal, which creates this quartal and ambiguous modality, which is not so common in Tintinnabuli style. A new approach to T-voice starts this bar. The right hand of the organ is always playing superior patterns but there are many 3rd and 4th positions, which was never introduced in this thesis except various occasions. It basically chooses from the 3rd or 4th available note. They are an octave above the 1st or 2nd positions, I believe he did this to expand the range of the T-voices. The other T-voice by the left had is playing alternating close position, more close to the M-voice. This bar is one of the interesting bars that made my anaylse it, it is one of the few moments in Pärt's music that I have encountered that feels more intuitive than systematic.
