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.
|Published (Last):||17 October 2010|
|PDF File Size:||7.86 Mb|
|ePub File Size:||2.28 Mb|
|Price:||Free* [*Free Regsitration Required]|
The note which is transposed is always the lowest sounding pitch of the particular presentation of the hexachord.
Towarzystwo im. Witolda Lutosławskiego
A possible reason for this is that ,utoslawski 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 lutoslawwki present any more. 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.
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. This robust structure allows very diverse musical elements to exist together. References Beck, Conrad et al. Varoations excerpt given in Example 3 contains the major structural character- istics of the work within itself.
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. 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 the rotation number and the numerical quantity of the former phrase.
Sacher Variation differs from all the other works of Luotlaswki since his Jeux Venitiens ofin that it contains no aleatory passages. Techniques of the Contemporary Composer. This translation of the article, which is made by the author himself, is unpublished. Therefore, in the analysis, it has been considered appropriate to indicate the formations in which it is not possible to explain the principles they based on clearly and to be restricted with the speculations on them.
The into two sections divided pitch material of the work.
The formal elements that are organized according to the particular principles and those that show a lack of an organization principle in this sense reflect a well-balanced whole, thus the looseness is also used as a formal element beside the organization.
That varriations 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. The differences between the two threads of the work are given in Table 2 altogether.
Witold Lutosławski – Sacher Variation for solo cello () – Music Sales Classical
Another contrast between the formations are observed in the organiza- tion of the pitch material. Among the many tributes paid to Paul Sacher, the founder and conductor of the Basle Chamber Orchestra and Choir, on his 70th birthday in was a short work for unaccompanied cello, composed the previous year by Witold Lutoslawski.
The piece is shaped by two contrasting strands. Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin. The first four lines of the score London: 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.
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 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. E flat or Es and A.
In this way, the melody and accompaniment functions, which are highlighted through the use of the instruments that aurally differ from each other, are also supported in regard to the pitches see Vogt Besides that, each musical thread processes its material on its very own way. Besides all these, the Sacher hexachord, which is aurally in the fore- ground, does structurally not play any effective role in the work, such that the row is repeated variationz its original arrangement and without being trans- posed throughout the work.
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.
The rhythmic order of the phrases of Thread I.
Although the mere repetition of the pitch material without any derivation, Lutoslawski has succeeded in creating a development that continues throughout the work by means of a simple but highly effective mechanism. The Sacher hexachord Forte number: It would not be surprising that a variatons like Lutoslawski, who has often worked with cluster chords and determined chromatic fields, shows such an approach.
The systematic progression of the pitches of the Sacher hexachord from the lowest to the highest register of the violoncello. Example 3 below shows the first four lines of the score. An intervention by the second strand releases the tension and the piece ends with a return of the theme — this time, however, lutoslaski differently, in a surprisingly playful manner.
Ninateka – Three composers – Sacher Variation for cello solo
In sections of this strand there emerge successive, increasingly long fragments sounded loudly, as if they were chanted. Thus the perception of the former one is much easier.
It will be seen that Lutoslawski, who excludes serial techniques and works with extremely varitions pitch material, provides the formal development through a mechanical system and also uses the looseness as a formal element beside the organization.
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. The increase in the numerical quantity of the notes in the phrases is based on the simple principle shown in Table 1.
Discography – Sacher Variation for solo cello.