LUTOSLAWSKI SACHER VARIATIONS PDF

Composer:Witold Lutosławski; Original title: Sacher Variation na wiolonczelę solo ; year of completion: ; instrumentation: cello solo; commission: Mścisław. Written as a 70th birthday tribute to Paul Sacher and based on the letters of his name. The work was requested by Mstislav Rostropovich, who gave the first. Witold Lutoslawski: Sacher Variation For Solo Cello Music Sales America Series Written as a 70th birthday tribute to Paul Sacher and based on the letters of his.

Author: Sazil Zunris
Country: Georgia
Language: English (Spanish)
Genre: Education
Published (Last): 5 June 2008
Pages: 459
PDF File Size: 9.47 Mb
ePub File Size: 5.36 Mb
ISBN: 516-6-37656-735-6
Downloads: 87505
Price: Free* [*Free Regsitration Required]
Uploader: Teramar

The rhythmic order of the phrases of Thread I.

Disregarding whether varoations is a quaver or a semiquaver, the last note of the third and the following phrases have only one functionality: Repeated again and again, it creates a long sequence of notes. The pitches of the Thread II divided into phrases. However, as it can be seen in Table 2 at the end of the analysis, Thread I and Thread II have completely opposite structures in many aspects, hence the formation of Thread II, which apparently does not have any organization principle in regard to the pitch material, contrasts the formation of Thread I, which is based on an extremely mechanical system, thereby taking place in the overall construction of the work.

Remember me on this computer. In addition to that, these pitches are emphasized through the insistent repetition at the end of the second, third, fourth, sixth, and eighth phrases. The order of these notes does not vary, although to lutoslaeski with the sequence is broken up by the intervention of other material.

Through his approach based on derivation, Holliger represents a completely opposite way variattions compos- ing and derives the pitch material of the whole work except the first section from the Sacher hexachord see Usman a: While Thread I uses a strictly working mechanism to organize pitches, the pitch material of Thread II is used freely, without being organized systematically. In reply to the systematic progression of the pitches of the Sacher hex- achord from the lowest to the highest register of the violoncello in Thread I, Thread II progresses from a higher register to the lowest.

In contrast to the rest of Thread I, here the dynamic levels mf, p, and pp are present, and the notes of the hexachord are used simultaneously for the first time.

  BOOK OF AWESOME NEIL PASRICHA PDF

Metamorphoses for cello and piano. The microtonal pitches, which are not contained by Thread I and thus which represent varkations of the main contrasting elements between the two formations, do not have a structural role in Thread II. There is a good reason for this.

Witold Lutosławski

As the first presentation of the Sacher hexachord in Thread I see Example 5the pitches of this phrase also are in the lowest octave register to be played by the violoncello. Help Center Find new research papers in: That the whole aural world, which is the primary foundation of the work, is going to be change if only one note in the Sacher hexachord is replaced with another one shows how integrated the Dacher hexachord with the overall structure of the work is.

Thread II contrasts with Thread I in every respect. Unlike Lutoslawski, Holliger does not show any systematic variatiins to changing the octave registers of the pitches see Usman a: The work ends with a short addition in the character of a codetta ap- proximately in the octave register in which the two threads have previously intersected. Thus the perception of the former one is much easier.

The two developmental processes related to the hexachord, namely the gradual extension of the phrases of Thread I and the progression of the hexachord from the lowest to the highest register of the violoncello throughout the work, should not be considered as technics applied particularly to the hexachord.

Witold Lutosławski – Sacher Variation for solo cello () – Music Sales Classical

References Beck, Varkations et al. Sacher Variation for cello solo. It is not, as its title might suggest, in variation form, but a piece in which a six-note sequence gradually comes to the fore and takes precedence over other ideas which, besides being of an entirely different nature, are restricted to the remaining six notes of the chromatic scale and their neighbouring quarter-tones. Our website uses cookies to give you the best possible experience. Besides that, each musical thread processes its material on its very own way.

While the first phrase of the Thread I, which is located at the very beginning of the score, contains only one note E flatthere are two notes in the second A and Cand four notes ,utoslawski the third phrase B, E, D, and E flat. The octave registers of the pitches has not taken into consideration variationa this stage.

  LEZIONI DI STATISTICA DESCRITTIVA ZENGA PDF

Beginning with 1 as the numerical quantity of the first phrase, the number of the notes in each one of the following phrases is determined by the sum of variatuons rotation number and the numerical quantity of the former phrase.

Ninateka – Three composers – Sacher Variation for cello solo

The phrases, which consist only of the note values of quaver and semi- quaver, are rhythmically in order, as well. Example 3 below shows the first four lines of the score.

Materials and Techniques of Twentieth-Century Music. This robust structure allows very diverse musical elements to exist together. Sacjer increase in the numerical quantity of the notes in the phrases is based on the simple principle shown in Table 1.

Discography – Vsriations Variation for solo cello. The differences between the two threads of the work are given in Table 2 altogether. There is one more phrase of Thread I to be found in the last staff of the score, which includes three complete presentation of the Sacher hexachord. A, C, H the German name of sachre pitch class Band E; and there are two letters that do not indicate any specific pitch classes by themselves: The piece is shaped by two contrasting strands.

The work bases its existence mainly on the aural world that is a result of this lutoslawksi. The second strand is filled with rapid, less distinctive figures, played mostly piano. After this transposition, the note D becomes the lowest sounding pitch of the second presentation.

The excerpt given in Example 3 dacher the major structural character- istics of the work within itself. Analysis of the Work2 The pitch material of the work is divided into two sections: