Cantus in Memoriam Benjamin Britten

Score#

After the three beats of silence that open the score, a tubular bell is struck three times very quietly (pianissimo), with 12 beats between the strikes and gap of 18 beats between the groups of three. This bell tells of the death of Britten—it is the funeral bell. It continues to be struck in groups of three widely spaced intervals for most of the piece, fading out for a time in the last 21 bars, only to reappear at the last. After the bell has struck there is a brief pause for three beats of silence, and then the first violins begin setting the pattern which the rest of the ensemble will follow at slower speeds. Half of the first violins begin playing the descending A minor scale, playing first one note from the very top of their range, then returning to the beginning and playing two notes, and then three and four and so on. The other half of the violins play notes from an A minor chord. These notes start a fourth lower and drop in pitch only when it is overrun by the first. This creates a swirling effect of increasing tension which is relieved by dropping the note. They begin playing very quietly (pianississimo) but gradually over the piece build up until they are playing very loudly (fortississimo). The second violins play exactly the same but an octave lower and at half the speed, which means they play 6 beats (one bar) of silence to begin, and appear to enter at the beginning of the second bar. Then the violas, which are the only voice not doubled, join in at quarter speed and another octave lower, the cellos at one eighth, and finally the contrabasses as one sixteenth. The basses are then playing each long note for 32 beats, and each short note for 16. At bar 65 the first violins hit middle C, and when they do they cease playing the A minor scale and simply play C continuously until the end of the piece (i.e., for more than 250 beats). Eleven bars later the second violins hit a low A and play that continuously. Similarly the other voices gradually find the note that they have been seeking and once reached, they play it continuously until the end. The last to lock into place are the contrabasses which alight on a low A in bar 103. At this stage, the whole ensemble is playing an A minor chord very very loudly, and this continues for five bars, then on the second beat of the last bar they suddenly stop. At that moment, the bell is struck very quietly (pianissimo) so that the striking itself is not heard, but only the reverberations as it dies away. As the final bell toll reverberates, with all other instruments silent, the overtones of the bell become prominently audible.

Subject matter#

The piece is a meditation on death. Pärt’s biographer, Paul Hillier, suggests that “how we live depends on our relationship with death: how we make music depends on our relationship to silence.” It is significant that the piece begins and ends with silence—that the silence is written in the score. This silence creates a frame around the piece and has spiritual significance. It suggests that we come from silence, and return to silence; it reminds us that before we were born and after we die we are silent with respect to this world. Speaking on his reaction to Britten’s death, Pärt admitted, :Why did the date of Benjamin Britten’s death – 4 December 1976 – touch such a chord in me? During this time I was obviously at the point where I could recognise the magnitude of such a loss. Inexplicable feelings of guilt, more than that even, arose in me. I had just discovered Britten for myself. Just before his death I began to appreciate the unusual purity of his music – I had had the impression of the same kind of purity in the ballads of Guillaume de Machaut. And besides, for a long time I had wanted to meet Britten personally – and now it would not come to that.

Sources and bibliography#

• Hillier, Paul. Arvo Pärt. Oxford: Oxford University Press, 1997.
• Quinn, Peter. Arvo Pärt, Cantus in memory of Benjamin Britten. University of London, Goldsmiths’ College, 1991
• Wallrabenstein, Wolfram. “Arvo Pärt: Cantus in memoriam Benjamin Britten”. Zeitschrift für Musikpädagogik, 31 October 1985, 31. 13–31

External links#

• //www.youtube.com/watch?v=4OmD0yZgH9E&eurl=http%3A%2F%2Fwww%2Efacebook%2Ecom%2Fhome%2Ephp%3F&feature=player_embedded Performance by A Far Cry , Jordan Hall, Boston, MA