„Cantate Domino canticum novum”, for Choir and Organ by Arvo Pärt. Stylistic and interpretative Analysis: Conductor’s perspective

Abstract

Written in 1977, the work by composer Arvo Pärt, Cantate Domino canticum novum (for organ and mixed choir), is based on the text of Psalm 96. The writing is homophonic and isorhythmic, and the tempo is lively, which, along with the piece's major tonality, constitutes exceptions in the landscape of the tintinnabuli style. The organ serves throughout the work as the Tintinnabuli voice, while the choral voices intone the Cantus firmus, taking on the role of the Melodic voice. The harmonic trajectory adheres to the tintinnabuli tradition: the entire work remains on the initially chosen pitch, noting that the organ, fulfilling the role of the T voice, exclusively intones the notes of the arpeggio in B-flat major. The melodic character of the entire work resembles the recitative style of the Catholic liturgical rite. The construction of the piece has an orderly succession based on the logic of accumulation, combined with antiphonal style, allowing the female voices to dialogue with the male voices, which then immediately come together to form a mixed four-voice texture.