Before the Estonian composer Arvo Pärt developed his hallmark sound—a style he calls tintinnabuli, from the Latin for “little bells”—he wrote strident neo-classical and serial works that bucked Soviet orthodoxy. He reached an artistic crisis in 1968, and over the next eight years he barely composed. His new style only emerged after detailed investigations of Gregorian chant and other early music, leading to a series of breakthrough scores from 1976-77, including Cantus in Memory of Benjamin Britten, Tabula Rasa, and Fratres. This last work, played initially by an Estonian early music ensemble, is built on an elegant framework of variations that allows it to be transported to any combination of instruments. A legendary album released by ECM Records in 1984 included two versions: one for violin and piano (played by Gidon Kremer and Keith Jarrett) and another for 12 cellos (featuring members of the Berlin Philharmonic). This record resonated with an exceptionally broad and diverse audience, cementing Pärt’s reputation on both sides of the Atlantic.

The version of Fratres for string quartet, first performed in 1986, emphasizes the austerity and blend of the musical lines, recalling the centuries-old tradition of the viol consort. The title, Latin for “brothers,” underscores this music’s connection to even older forms of monastic singing. SPCO violinist Daria Adams has adapted this version, with multiple strings on each part, especially for the architecture and acoustics of the Ordway Concert Hall.

Aaron Grad ©2017