ARVO PART FUR ALINA PDF

For instance, the voice of the melody grows by one note in each bar and, reaching its maximum eight notes begins to diminish again. The free-flowing melody is united throughout the piece with the so-called tintinnabuli voice, always following its nearest triad. These two voices are united into an inseparable whole. Interestingly, the compos…. Interestingly, the composer allows himself to break both of the rules.

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For instance, the voice of the melody grows by one note in each bar and, reaching its maximum eight notes begins to diminish again. The free-flowing melody is united throughout the piece with the so-called tintinnabuli voice, always following its nearest triad. These two voices are united into an inseparable whole.

Interestingly, the compos…. Interestingly, the composer allows himself to break both of the rules. This tiny but very striking acoustic event is further accentuated by the breaking of the pedal point that has been held down throughout the piece.

The second rule is broken in the final bar, when the melody, which by now should be reduced to just a single note, is suddenly followed by three further notes, as if a new song, a new journey might still begin from here. It is remarkable that this natural union of strict rules and internal freedom, so inherent to the entire tintinnabuli music, should manifest itself already in the first work written in this new style.

Another major keyword to characterise all the tintinnabuli music and its aesthetic is silence. As a hint for the pianist, the composer has noted that the piece be played "in calm, uplifted manner, listening to one's inner self".

Moreover, many of the girls that were born listening to the music have been named Alina. Scored for piano. Duration 2 min. Show more Show less. Alexander Malter piano. CD Alina. World premiere Other titles Aliinale. Completion year Publishers Universal Edition. Share Facebook Twitter Share.

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Arvo Pärt: Für Alina

It can be considered as an essential work of his tintinnabuli style. This concert was the first to introduce his new signature style of composition, referred to as the tintinnabuli style. The family had broken up and the daughter went to England with her father. The work, dedicated to the daughter, was actually meant as a work of consolation for the girl's mother, missing her child.

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Photographs: Arvo Pärt explaining the story of the birth of “Für Alina”

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