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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Disregarding whether it is a quaver or a semiquaver, the last note of the third and the following phrases have only one functionality: It will be seen that not only pitches, but also other musical parameters such as the dynamic, the octave register, and the direction of the melodic contour are functioning as formal elements.

The relation between the emphasized pitches B flat and D flat and the Sacher hexachord. This translation of the article, which is made by the author himself, is unpublished.

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.

Sacher Variation differs from all the other works of Luotlaswki since his Jeux Venitiens ofin that it contains no aleatory passages. References Beck, Conrad et al. However, unlike some of these examples, the row in Example 2 has nothing to do with the concept hexachordal combinatoriality, which describes a particular construction of the twelve-tone row that consists of two hexachords which have in terms of the set theory the same prime forms, which means that the two hexachords are unchanged, inverted, or retrograded transpositions of each other see Cope The Sacher hexachord Forte number: The increase in the numerical quantity of the notes in the phrases is based on the simple principle shown in Table 1.


The work bases its existence mainly on the aural world that is a result of this derivation.

Ninateka – Three composers – Sacher Variation for cello solo

Neue Musik seit [New Music since ] 3rd edition. 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 vatiations clarinet respectively. Although the mere repetition of avriations 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.

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 lutoslaqski to the pitches see Vogt Mstislav Rostropovich approached several distinguished composers, asking them to write miniatures that he would perform during a birthday concert.

The excerpt given in Example 3 contains the major structural character- istics of the work within itself. Serial Composition and Atonality 6th edition.

Log In Sign Up. The longest presentation of the theme leads to a climax, in which the cello frantically repeats the first two notes in the series: 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. Continue using the site as normal or read our Privacy Policy. This pitch is also transposed up by an octave in the third presentation, and this process continues until the 18th presentation of the hexachord.

Sacher Variation for cello solo – Three composers – Ninateka

Click here to sign up. The lutoslqwski registers of the pitches has not taken into consideration in this stage. Sections belonging to both strands gradually become longer.


Among the lutosoawski tributes paid to Paul Sacher, the variatiosn 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 principle which the increase of the numerical quantity of the phrases is based on. The Sacher hexachord is nothing but the subject of these technics.

Thread II contrasts with Thread I in every respect. Analysis of the Work2 Luotslawski pitch material of the work is divided into two sections: 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.

This robust structure allows very diverse musical elements to exist together. 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.

The note which is transposed is always the vairations sounding pitch of the particular presentation of the hexachord.

The differences between vadiations two threads of the work. 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.

E flat or Es and A. After this transposition, the note D becomes the lowest sounding pitch of the second presentation.