Da Pacem Domine by Arvo Pärt. The Stylistic and Interpretative Analysis – Conductor’s Guide

Abstract

The piece “Da pacem Domine” (Give us peace, O Lord), by Arvo Pärt was inspired by a Gregorian antiphon from the 9th century. Written in the original tintinnabuli style, the piece uses numerous compositional techniques belonging to the early Renaissance period called Cantus firmus, parallel organum, faux bourdon, Landini cadence or anticipations, but also and even a modern way of vocal scoring: the “pointillistic polyphony”. The work is divided into four sections, corresponding to the four verses of the prayer and the gravitational centre of the music is D. To impart expressive meaning to the musical performance, the interprets, both the conductor or singers can consider the following elements: homogeneity in individual voices and ensemble performance, different singing modalities (legato/non-legato) alternating between moments of cadence and the rest of the piece, the technique of attack and sound placement, finding and maintaining an appropriate inner state reflecting the ideas of the text and the general character of the piece.