De Profundis (1980)

for male choir, percussions ad libitum and organ


dedicated to the Austrian composer Gottfried von Einem (1918–1996) 


I have chosen this piece for many various reasons. I believe it to be one of the most essential of his works to understand his structuring of ideas, tintinnabuli style and, how he treats rhythm. The rhythm comes from the syllables in this piece, meaning each syllable has a length of a half note and the bar lengths are determined by how many syllables each word has. This creates a unique, almost free flow, speech like a state, hiding behind a well structured idea. 


The basis of the composition is a pilgrimage song, Psalm 130 (129) Out of the depths, I cry to you, Lord, which has been composed following the beginning of the psalm: one voice, in all possible combinations sings the first two verses of the psalm, two voices sing the third and fourth, three voices sing the fifth and sixth, whereas the seventh and eighth psalms are sung by the entire four-part male choir. The beauty of this constructuion is that he explores all of the possiblities within sections, constatly expanding. With this gradual addition of voices, what started as an individual lament ultimately becomes a collective wailing. (Arvo Pärt Centre 2025)


The melodic modes that he chose for this piece, for each verse of the psalm and changing to a different one with each sentece (or a phrase), he follows this pattern:


- Ascending from

- Descending towards

- Ascending towards

- Descending from


Each mode aims to reach the tonic E or starts from it. This piece is also a great example Pärt's usage of serial pairings within the section. Only by gradually adding the sections in different combinations, he manages to create a build up without adding any extra harmonic material. 


The organ ties everything together, serves as an anchor. There are couple roles that does not chnage throughout the piece. The pedals doubles only the bass parts, alternating between first and second bass section. The right hand plays the M-voice in different transpositions (different intervals such as 3rds and 10ths). The left hand serves as a T-voice for the right hand, playing on the off beats and alternating between superiror and inferior 2nd position.

The percussion is merely used as a coloring tool, to accentuate begininngs of phrases or new verses, which given a very concrete structure to the piece. Tying every other element together.

The orchesration of the verses.

Vocal Text


Psalm 130 (129)

De profundis clamavi ad te Domine:
Domine exaudi vocem meam: Fiant aures tuae intendentes, in vocem deprecationis meae.
Si iniquitates observaveris Domine: Domine quis sustinebit?
Quia apud te propitiatio est: et propter legem tuam sustinui te Domine.

Sustinuit anima mea in verbo eius: speravit anima mea in Domino.

A custodia matutina usque ad noctem: speret Israel in Domino.
Quia apud Dominum misericordia: et copiosa apud eum redemptio.
Et ipse redimet Israel, ex omnibus iniquitatibus eius.

Psalm 130 (129)
(Translation)


Out of the depths have I cried unto thee, O Lord.
Lord, hear my voice: let thine ears be attentive to the voice of my supplications.
If thou, Lord, shouldest mark iniquities, O Lord, who shall stand?
But there is forgiveness with thee, that thou mayest be feared.
I wait for the Lord, my soul doth wait, and in his word do I hope.
My soul waiteth for the Lord more than they that watch for the morning: I say, more than they that watch for the morning.
Let Israel hope in the Lord: for with the Lord there is mercy, and with him is plenteous redemption.
And he shall redeem Israel from all his iniquities. (Arvo Pärt Centre 2025)

verse I-II

verse III-IV

verse V-VI



verse VII-VIII

Here is a detailed analyses of which section serves as a T-voice and which section has the M-voice in each verse:

 

Verse I

1. Sentecen -  Bass II. M-voice, ascending from

 

Verse II

1. Sentence - Tenor I. M-voice, descending towards

2. Sentence - Bass I.  M-voice, ascending towards

3. Sentence - Tenor II. M-voice, descending from

 

Verse III

1. Sentence  - Bass I. T-voice, 2nd position, superior

                     - Bass II. M-voice, ascending from

 

2. Sentence -  Tenor I. M-voice, descending towards

                    -  Tenor II. T-voice, 2nd position, inferior

  

Verse IV

1. Sentence  -  Tenor II. T-voice, 2nd position, superior

                     -  Bass II. M-voice, ascending towards

 

2. Sentence  -  Tenor I. M-voice, descending from

                     -  Bass I. T voice, 2nd position, inferior


Verse V

 1. Sentence  -  Tenor II. M-voice II, octave and a 5th up from M-voice I

                      -  Bass I. T voice, 2nd position superior to M-voice I (B II)

                      -  Bass II. M-voice I

 

2. Sentence.  -  Tenor I.  M-voice II, octave and a 5th up from M-voice I

                      -  Tenor II, T-voice, 2nd position superior to M-voice I 

                      -  Bass I, M voice I

 

a beautiful example of mirroring, which he uses for melodies, form and orchestration frequently.

Solfeggio De Pacem Domine