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.

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Analysis of the Work2 The pitch material of the work is divided into two sections: Besides that, each musical thread processes its material on its very own way. Techniques of the Contemporary Composer. In the first two measures of the movement, which is written with the twelve-tone technique, ten pitches of the twelve-tone row are played by the mandolin and guitar, and two pitches that remains are played by the violin and bass clarinet respectively. Discography – Sacher Variation for solo cello.

Disregarding whether it is a quaver or a semiquaver, the last note of the third and the following phrases have only one functionality: In sections of this strand there emerge successive, increasingly long fragments sounded loudly, as if they were chanted.

Repeated again and again, it creates a long sequence of notes. Another remarkable characteristic of Thread II is that all the phrases except the last one end with the notes B flat and D flat, which may or may not be respectively. The microtonal pitches, which are not contained by Thread I and thus which represent one of the main contrasting elements between the two formations, do not have a structural role in Thread II.

Ten of the twelve compositions, namely all works with the exception of those of Berio and Henze, were performed by Rostropovich himself on May 2,in Zurich, Switzerland Dunnagan This translation of the article, which is made by the author himself, is unpublished.

For instance, the very first note is E flat Esbut there is a gap before the A and C are reached and another one afterwards. The pitches of the Thread II divided into phrases. 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 Sacher hexachord with the overall structure of the work is.

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The rhythmic order of the phrases of Thread I.

A possible reason for this is that the composer regarded the pitch A two octave above the first open string as the highest limit because it was undesirable for the composer to enter into a register where the characteristic timbre of the violoncello would not be present any more. In this way, the melody and accompaniment functions, which variwtions highlighted through the use of the lutosawski that aurally differ from each other, are also supported in regard to the pitches see Vogt Help Center Find new research papers in: The Sacher hexachord Forte number: The systematic progression of the pitches of the Sacher hexachord from the lowest to the highest register of the violoncello.

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Thread II contrasts with Thread I in every respect. However, while the rhythmic patterns in Messagesquisse are formed by the letters S-A-C-H-E-R to be realized through rhythmic values according to the long and short signals in the Morse code see Bonnet The excerpt given in Example 3 contains the variatikns structural character- istics of the work within itself.

Thus the perception of the former one is much easier. A, C, H the German name of variatikns pitch class Band E; and there are two letters that do not indicate any specific pitch classes by themselves: The phrases, which consist only of the note values of quaver and semi- quaver, are rhythmically in order, as well.

After the repetition of the remaining first two notes four times, Thread I is ended with the note E flat, which is the first note of both the hexachord and the work. Serial Composition and Atonality 6th edition.

Witold Lutosławski

While Thread I uses a strictly working mechanism to organize pitches, the pitch material of Thread II is used freely, without being organized systematically. Sacher Variation for cello solo.

The relation between the emphasized pitches B flat and D flat and the Sacher hexachord. In other words, the development is provided by the global technics that can be applied to any pitch material, and not by the Sacher hexachord itself.

While the first phrase of the Thread I, which is located at the very beginning of the score, variatiins only one note E flatthere are two notes in the second A and Cand four notes in the third phrase B, E, D, and E flat. Contemporary Music Review, 2: In addition to that, these pitches are emphasized through the insistent repetition at the end of the second, third, fourth, sixth, and eighth phrases. Thanks to succession of contrasting elements without ceasing, avriations work never loses its vitality while it constantly maintains its mechanic development.


Sacher Variation for cello solo – Three composers – Ninateka

Remember me on this computer. That the phrases of Thread I, whose development is realized due to the highly consistent organization principles, carry the structure in a similar way that strong columns carry the building plays the most important role to provide the integrity of the work, of course. Metamorphoses for cello and piano. The longest presentation of the theme leads to a climax, in which the cello frantically repeats the first two notes in the series: The percep- tion of the opposite directions of the threads, the changes in the number of the notes each phrase contains, and the individuality of the threads becomes possible only through the restriction of the pitch material development.

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. However, the last necessary transposition for achieving the initial arrangement of the row three octave higher, namely the transposition of the note B by an octave in the non-existent 19th presentation of the row, does not take place.

Skip to main content. These processes do not cause any transformation of the hexachord except the change of the octave register, and nor the acquired result is determined by the hexachord. The into two sections divided pitch material of the work. Through his approach based on derivation, Holliger represents a completely opposite way of compos- ing and derives the pitch material of the whole work except the first section from the Sacher hexachord see Usman a: Materials and Techniques of Twentieth-Century Music.