Danuta Mirka - Texture in Penderecki's Sonoristic Style

8/14/2019 Danuta Mirka - Texture in Penderecki's Sonoristic Style

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Danuta Mirka*

Texture in Penderecki's Sonoristic Style

KEYWORDS: Penderecki, sonorism..

ABSTRACT: In his so-caed !sonoris"ic! #eriod o$ "he ear% &'()s--re#resen"ed *%

#ieces s+ch as Threnody, Fluorescences, Polymorphia, and o"hers--Penderecki

em#o%ed a com#osi"iona s%s"em hose aioma"ic conce#" as no" a sine so+nd, *+"

"he so+nd ma""er in i"s "o"ai"%. Dis"inc" s"a"es o$ "his so+nd ma""er ere o/erned *%

"o rea"i/e% inde#enden" s%s"ems: 0&1 a *asic s%s"em hich r+ed "he "e"+re o$ so+nd

masses and 021 a "im*re s%s"em o/ernin "heir so+nd coor. Ca"eories o$ "he *asic

s%s"em are a $e *inar% o##osi"ions concernin #i"ch, "ime, and o+dness: s#a"ia

mo*ii"% /s. immo*ii"%, "em#ora mo*ii"% /s. immo*ii"%, s#a"ia con"in+i"% /s.

discon"in+i"%, "em#ora con"in+i"% /s. discon"in+i"%, hih /s. o reis"er, o+d /s. so$"

d%namics. These ca"eories acco+n" $or "he mor#hoo% o$ "he *asic s%s"em *eca+se a

com*ina"ion o$ "erms chosen $rom indi/id+a ca"eories enera"es an in/en"or% o$ +ni"sin Penderecki3s sonoris"ic s"%e. The same se" o$ ca"eories aso de"ermines s%n"a, as

"he "em#ora order o$ +ni"s in "he co+rse o$ m+sica narra"ion is r+ed *% "he in"erna

oic o$ indi/id+a *inar% o##osi"ions. Ca"eories o$ "he "im*re s%s"em are in "+rn me"a,

ood, and ea"her--ma"erias o$ hich "he so+nd so+rces o$ "radi"iona m+sica

ins"r+men"s are mos" o$"en made--$ormin a "ernar% o##osi"ion. The "im*re s%s"em

+nderies "he ea"h o$ ne m+sica "oos as e as eccen"ric #a%in "echni4+es on

"radi"iona ins"r+men"s caed $or *% "he com#oser.

5&6 Penderecki3s m+sic o$ "he &'()s, knon in Poand +nder "he name o$ !sonorism!and re#resen"ed *% s+ch $amo+s #ieces as Threnody-To the Victims of Hiroshima,

Polymorphia or Fluorescences, is *ased on a com#osi"iona s%s"em o$ a /er% #ar"ic+ar

sor". I"s #ar"ic+ari"% ies in "he $ac" "ha" "he aiom here is no" a conce#" o$ a sine

so+nd e/en", *+" o$ so+nd ma""er "aken in i"s "o"ai"%--en masse, so "o sa%. As a

conse4+ence, "his s%s"em o/erns rea"ions no" *e"een indi/id+a so+nds *+" *e"een

so+nd masses. These rea"ions are 4+ai$ied in res#ec" o$ "e"+re and "im*re.

Accordin%, Penderecki3s sonoris"ic s%s"em consis"s o$ "o s+*s%s"ems: one "ha" r+es

"e"+re o$ so+nd masses and "ha" I ca !*asic s%s"em,! and "he o"her "ha" acco+n"s $or

"heir "im*res hich is caed *% me !"im*re s%s"em.! In ha" $oos, I i concen"ra"e

on "he *asic s%s"em aone.

I. CATEGORIES

526 The *asic s%s"em concerns "hree o$ "he $o+r #arame"ers o$ a+di"or% #erce#"ion:

o+dness, #i"ch, and "ime. On "hose #arame"ers, ca"eories o$ "he *asic s%s"em are

$o+nded, each o$ "hem es"a*ished *% a *inar% o##osi"ion:

Ta*e &

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576 O##osi"ion *e"een s#a"ia con"in+i"% and discon"in+i"% deno"es here a rea"ion

*e"een *ands and indi/id+a% discerni*e #oin"s on "he #erce#"+a ais o$ #i"ches.

Tem#ora con"in+i"% /s. discon"in+i"% is an o##osi"ion *e"een as"in so+nds and

momen"ar% im#+ses as, res#ec"i/e%, sec"ions and #oin"s on "he "em#ora ais. S#a"ia

mo*ii"% means a #erce#"ion o$ #i"ch chane, and "em#ora mo*ii"% is "an"amo+n" "o

rh%"hm in "radi"iona m+sica "erminoo%. To +nders"and "he a% in hich "hese

ca"eories o#era"e i"hin "he s%s"em, i" is necessar% "o eamine "heir inner oica

s"r+c"+re.

586 The *inar% o##osi"ions is"ed in "he "a*e "ake sha#e as ei"her con"radic"ion or

con"rarie"%. Con"radic"ion is an o##osi"ion hich cassi$ies e/er% #ossi*e #henomenon

+nder ei"her o$ i"s o##osi"e "erms, tertium non datur . 9a"hema"ica%, i" can *e "h+s

modeed as a rea"ion *e"een a i/en se" and i"s com#emen" 0i+re &1. This "%#e o$

o##osi"ion is re#resen"ed *% s#a"ia con"in+i"% /s. discon"in+i"%, "em#ora con"in+i"% /s.

discon"in+i"%, s#a"ia mo*ii"% /s. immo*ii"%, "em#ora mo*ii"% /s. immo*ii"%.

Con"rarie"%, on "he o"her hand, $orms an o##osi"ion in hich tertium datur , "ha" is,

hich aos $or #henomena "o *e cassi$ied +nder nei"her "erm o$ "he o##osi"ion i"se$.In Penderecki3s *asic s%s"em, i" is re#resen"ed *% hih /s. o reis"er 0*eca+se "here

aso eis"s midde reis"er1 and o+d /s. so$" d%namics 0*eca+se d%namics can aso *e

medi+m1. The ma"hema"ica mode o$ con"rarie"% is "h+s a rea"ion o$ "o se"s, each o$

"hem *eonin "o "he com#emen" o$ "he o"her 0i+re 21.

2



5;6 <oe/er, "he $i+res =+s" #resen"ed are no" 4+i"e ade4+a"e modes o$ Penderecki3s

ca"eories. This is so since *o"h con"radic"ions and con"rarie"ies o$ "he *asic s%s"em are

rea"ions o$ $+>>%, and no" cassica, oic and "here$ore sho+d *e modeed *% $+>>%,

and no" ordinar%, se"s.0&1 In $+>>% se"s, "he discrimina"ion *e"een "heir eemen"s and

non-eemen"s is o*sc+red. Cassica cases o$ $+>>% se"s are "h+s desina"ed *% "erms o$

*o"h con"rarie"ies: hih /s. o reis"er and o+d /s. so$" d%namics. Cear%, one canno"

indica"e an% sine $re4+enc% /a+e a" hich o reis"er ends or a" hich hih reis"er

s"ar"s. Simiar%, "here is no s+ch a "hin as an +##er in"ensi"% *order o$ so$" d%namics

or a oer in"ensi"% *order o$ o+d d%namics. Ra"her "han *order-ines, e ha/e here

*order->ones o$ /a+es "ha"--in di$$eren" con"e"s--can *e cassi$ied as ei"her *eoninor no" *eonin "o a i/en se" i"hin an indi/id+a ca"eor% 0i+re 81.

5(6 As reards con"radic"ions, "he reason $or "heir $+>>iness ies in "he $ac" "ha" "he%--as

a "he ca"eories o$ Penderecki3s *asic s%s"em--are #erce#"+a, and no" aco+s"ica. And,

e/en i$ aco+s"ica% i" is aa%s #ossi*e "o cassi$% a i/en so+nd +nder one "erm o$ a

i/en con"radic"ion, i" mih" o$"en *e im#ossi*e $or a is"ener "o decide +ne4+i/oca%

ho--in "he $rameork o$ "his o##osi"ion--"o cassi$% a so+nd #henomenon =+s"

#ercei/ed. or ins"ance, issando is a s#a"ia% mo*ie #henomenon. B+" i$ i"s s#eed is

*ein rad+a% red+ced, "hen, a" some #oin", "he is"ener i hesi"a"e he"her i" is s"i a

issando or ra"her a on-as"in--and "h+s s#a"ia% immo*ie--#i"ch. I"s cassi$ica"ion

i "h+s /ar%, de#endin on "he con"e" and a+ra a*ii"ies o$ "he is"ener. As a res+",

aain, "he *order-ine *e"een o##osi"e "erms i "+rn in"o a *order->one hose

eemen"s are nei"her +ni/oca% inc+ded in nor ec+ded $rom "he neih*orin se"s

0i+re 71.

5?6 The *order >one ena*es a "ransi"ion *e"een o##osi"e "erms. B+", *eside "ransi"ion,

"here eis" aso $+r"her #ossi*ii"ies o$ media"ion $or e/er% *inar% o##osi"ion. Bo"h

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o##osi"e and media"i/e "erms o$ Penderecki3s ca"eories are is"ed in Ta*e 2 *eo,

se#ara"e% $or con"radic"ions and con"rarie"ies.

Tale !. Terms o$ "he *asic s%s"em ca"eories

CO@TRADICTIO@ CO@TRARIETYOPPOSITE

TER9S #osi"i/e "erm 01

nea"i/e "erm 0-1

#osi"i/e "erm 01

nea"i/e "erm 0-1

9EDIATIE

TER9S

"ransi"ion 0-1

*order->one "erm 01

com#e "erm 0-1

"o"a "erm 0561

"ransi"ion 0-1

ne+"ra "erm 0)1

com#e "erm 0-1

"o"a "erm 0561

5F6 As shon in "he "a*e, media"ion o$ a con"radic"ion can *e accom#ished *% means

o$ a border-zone term, re#resen"ed ra#hica% *% se/era shades o$ ra% in i+re 7a*o/e. On "he o"her hand, media"ion o$ a con"rarie"% is #ossi*e oin "o a neutral term

com#risin in"ermediar% /a+es in i+re 8. +r"hermore, *o"h con"radic"ion and

con"rarie"% can *e media"ed *% a sim+"aneo+s occ+rrence o$ /a+es charac"eris"ic $or

#osi"i/e and nea"i/e "erms 0complex term1 as e as *% so+nd masses e#osin a

mi"+re o$ /a+es e/en% s#read +#on "he hoe rane o$ a i/en ca"eor% 0 total term1.

Beca+se Ta*e 2 con"ains aso a**re/ia"ed s%m*os o$ "erms, i" can *e "rea"ed as a hand%

is" o$ e#ana"ions $or a"er ana%"ica sam#es.

5ED: Some o$ "he s%m*os a*o/e are ASCII a##roima"ions o$ "he ac"+a s%m*os "ha"

a##ear in "he ana%"ic diarams.6

II. MORP"O#OG$

5'6 On "he #aradima"ic ais, "he ca"eories es"a*ished *% *inar% o##osi"ions acco+n"

$or "he mor#hoo% o$ "he *asic s%s"em. This is so *eca+se a com*ina"ion o$ "heir "erms

enera"es an in/en"or% o$ eemen"ar% s%n"ac"ica +ni"s in Penderecki3s sonoris"ic s"%e. I

ca s+ch +ni"s segments. E/er% semen" is "h+s a com*ina"ion o$ "erms chosen $rom a

"he indi/id+a ca"eories. Conse4+en"%, "o de$ine a semen", i" is necessar% 0and

eno+h1 "o s#eci$% i"s com#onen" "erms. One eam#e o$ s+ch a de$ini"ion is i/en in

i+re ;.

8



5&)6 Beca+se "here are si ca"eories a"oe"her, each o$ "hem modeed as a rea"ion o$

se"s i"hin a one-dimensiona s#ace, semen"s as s%n"ac"ica +ni"s o$ Penderecki3s *asic

s%s"em are o*=ec"s o$ a si-dimensiona s#ace. And *eca+se e/er% "erm o$ a i/en

ca"eor% is re#resen"ed no" *% a sine #oin", *+" *% a se" hich, moreo/er, is $+>>%,

e/er% semen" admi"s an in$ini"e n+m*er o$ /arian"s as i"s concre"e reai>a"ions.

Semen"s are "h+s "o *e concei/ed as types of texture, and hence in/arian", a*s"rac"en"i"ies. Their /arian"s ma% dis#a% considera*e di$$erences as "o so+nd con"en"s

inasm+ch as "hese di$$erences do no" "hrea"en cons"i"+"i/e "erms o$ a i/en semen".

One /arian" o$ "he semen" =+s" shon is "he $ina c+s"er o$ Threnody--To the Victims

of Hiroshima 0Eam#e &1.

Eam#e &. Penderecki, Threnody--To the Victims of Hiroshima ?)

5Eam#e omi""ed *eca+se o$ co#%rih" res"ric"ions6

5&&6 Knoin a "he "erms o$ a "he *inar% o##osi"ions o$ "he *asic s%s"em, one can

com*ine "hem "o o*"ain a $+ is" o$ semen"s accessi*e in Penderecki3s sonoris"ic

s"%e. I$ "here ere on% o##osi"e "erms a/aia*e in each ca"eor%, "he *asic s%s"emco+d *e ra#hica% i+s"ra"ed *% "he !rose""e! shon in i+re (.

5&26 Indi/id+a semen"s o+d *e re#resen"ed *% a "he heaons "o *e $o+nd i"hin"he rose""e, and "heir "o"a n+m*er o+d *e (8 0G2(1. The rose""e o+d aso ehi*i"

;



#aradima"ic rea"ionshi#s *e"een semen"s. Since e/er% o##osi"e "erm o$ an%

ca"eor% $orms i"s on /er"e, "he hiher "he n+m*er o$ common /er"ices *e"een

heaons, "he coser "he rea"ionshi# o$ semen"s re#resen"ed *% "hem. In reai"%,

hoe/er, "he "o"a n+m*er o$ semen"s ac"+a% a" Penderecki3s dis#osa in his sonoris"ic

#ieces is m+ch hiher and "heir #aradima"ic rea"ionshi#s m+ch more com#ica"ed "han

s+es"ed *% "he rose""e d+e "o media"i/e "erms "ha" occ+r i"hin e/er% ca"eor%. The #resence o$ media"i/e "erms means "ha" "he oica rea"ions *e"een "erms in

$rameorks o$ indi/id+a ca"eories can "ake se/era, oica% /aried sha#es: no" on%

"ha" *e"een "o o##osi"e "erms, *+" aso *e"een one o##osi"e and one media"i/e "erm,

as e as *e"een "o di$$eren" media"i/es. In each case, "he rea"ionshi# *e"een

semen"s con"ainin a i/en #air o$ "erms is aso di$$eren".

III. S$%TA&

5&76 The same se" o$ ca"eories, hich on "he #aradima"ic ais +nderies "he

mor#hoo% o$ "he *asic s%s"em, on "he s%n"ama"ic ais, de"ermines i"s s%n"a, "ha" is,

"he "em#ora order o$ semen"s in "he co+rse o$ a m+sica narra"ion. In Penderecki3ssonoris"ic s"%e, "his order is r+ed on "he e/e o$ indi/id+a ca"eories. In "he co+rse o$

a #iece, "he s+ccession o$ "erms re#resen"in a i/en ca"eor% is aoed "o ass+me a

sha#e o$ se4+ences ser/in as ei"her a presentation or a mediation o$ "he *inar%

o##osi"ion charac"eris"ic o$ a "ha" ca"eor%. Presen"a"ion o$ "he o##osi"ion consis"s in a

direc"% con"ras"in =+"a#osi"ion o$ i"s o##osi"e "erms 0i+re ?a1. In "he case o$

media"ion, one or more media"i/e "erms is inser"ed *e"een "he o##osi"e "erms 0i+re

?*1. rom here i" $oos "ha" a #rohi*i"ed se4+ence o$ "erms is a re"+rn "o an ini"ia

o##osi"e "erm, *e i" #osi"i/e or nea"i/e, a$"er a media"i/e "erm or a chain o$ s+ch "erms

has occ+rred 0i+re ?c1.

(



5&86 Presen"a"ion o$ "he o##osi"ion *e"een hih and o reis"er is shon in Eam#e

2. This eam#e *rins a*o+" an im#ressi/e amaam o$ so+nds #rod+ced *% se/era

4+asi-m+sica "oos as e as *% a"%#ica "echni4+es o$ #a%in "radi"iona m+sica

ins"r+men"s.021 In rehearsa n+m*er '8, o reis"er is re#resen"ed oriina% *% =arrin

so+nds o$ ra""e 0R1 and +iro, ass *ar 0"r1 and shee" me"a 0H"r1 r+**ed i"h $ies,

#ieces o$ iron 0rro1 and ood 0Hn1 saed i"h hand-sas, and "he #iano 0P$"e1 hose

oes" s"rin is r+**ed i"h a "riane rod. These non-ins"r+men"a noises are

s+*se4+en"% =oined *% "rom*ones, horns and "+*as #a%in "heir oes" #ossi*e no"es

o$ inde$ini"e #i"ches. The hih reis"er in n+m*er '; com*ines de$ini"e #i"ches o$ $+"es,

o*oes, and /i*ra#hone i"h so+nds o$ "o "rianes, $ea"one, #iano s"rins eci"ed

i"h ire *r+shes, and s"rined ins"r+men"s #a%ed *e"een *rides and "ai#ieces. In

n+m*er '(, a#ar" $rom "he +n+s+a so+nd e$$ec"s knon aread% $rom n+m*er '8, one

$inds a "echni4+e o$ *oin ceos and do+*e *asses on "heir *rides and "ai#ieces.

ina%, in n+m*er '?, "he com#oser in"rod+ces an eec"ric *e 0Cm#. e""r.1 and

his"es i"h hih, shar# so+nds 0""i1 hose s4+eaks mere i"h hihes" #ossi*e no"es

o$ s"rins.

Eam#e 2. Penderecki, Fluorescences '8-'?&

?






A+dio ie: 5Pendin co#%rih" cearance6

@a"iona Poish Radio S%m#hon% Orches"ra in Ka"oice

Cond+c"or An"oni Wi"

5&;6 In "he a*o/e eam#e, semen"s $orm a sim#e s+ccession. This, hoe/er, is no"

aa%s "he case. In Penderecki3s sonoris"ic #ieces i" ha##ens 4+i"e o$"en "ha" semen"s

o/era# or im#ose on one ano"her. Eam#e 7 shos an im#osi"ion o$ as man% as "hree

semen"s, hich "akes #ace in "he cen"ra sec"ion o$ Polymorphia 07F-8;1. Seen $rom

"he ane o$ "he o##osi"ion *e"een s#a"ia mo*ii"% and immo*ii"%, "his sec"ion *einsi"h a nea"i/e "erm: s#a"ia immo*ii"% res+"s $rom re#e"i"ions o$ an a"%#ica "echni4+e

o$ #a%in s"rined ins"r+men"s "ha" consis"s o$ s"rikin "he $iner*oard i"h "he #am o$

"he hand. Transi"ion is accom#ished *% a rad+a in"rod+c"ion o$ more and more

ins"r+men"s as e as #roressi/e di$$eren"ia"ion o$ "heir ar"ic+a"or% e$$ec"s re4+ired *%

"he com#oser: "a##in so+nd*oards i"h $iner"i#s, "a##in "he desk i"h "he *o or "he

chair i"h "he n+", legno battuto *e"een *ride and "ai#iece, and hihes" #ossi*e

no"es #a%ed pizzicato. This "ransi"or% #assae re#resen"s a media"ion o$ "he *inar%

o##osi"ion in 4+es"ion. A$"er "he maima im#ression o$ s#a"ia mo*ii"% is es"a*ished

in n+m*er 87, "here occ+r as"in #ies o$ hihes" #ossi*e no"es in /ioins, /ioas, and

ceos 0881, as e as a hoe-"one c+s"er in con"ra*assi 08;1. A "hese so+nd

#henomena are s#a"ia% immo*ie and re#resen" a ne semen" im#osed on"o "he

F



earier #erc+ssi/e e$$ec"s. This ne semen", in i"s "+rn, *reaks don in"o "o: one

re#resen"in hih reis"er 0/n, /, /c1 and "he o"her oca"ed in o reis"er 0/*1.

Eam#e 7. Penderecki, Polymorphia 7F-8;

A+dio ie: 5Pendin co#%rih" cearance6Craco Phiharmonic Orches"raCond+c"or <enr%k C>%>

5&(6 Im#osi"ion o$ semen"s ma% res+" in s#i""in "he m+sica narra"ion o$ a i/en

#assae in"o "o or more #arae "hreads. This ha##ens hen s+#erim#osed semen"s

$orm oner chains "ha" r+n aon "he main "hread o$ narra"ion. And %e", i" need no"

aa%s *e cear hich chain $orms "he main, and hich one "he s+*ordina"e "hread.

Some"imes "he #arae chains are coordina"e. Some o"her "ime, "he oriina% eadin

chain dri/es in"o a dead end, i/in a% "o "he hi"her"o o/ershadoed "hread o$

narra"ion. S"i ano"her "ime, "o or "hree "hreads o$ ei"her e4+a or di$$eren" im#or"ancemere in"o each o"her, r+nnin *ack in"o a +ni$ied s"ream o$ m+sic. <o "o #a% o+"

s+ch #assaes o$ s#i" m+sica narra"ion, is e/er% "ime a ma""er o$ s"ra"e% ass+med *%

"he com#oser. The "o $ooin eam#es demons"ra"e "o di$$eren" s"ra"eies +sed *%

Penderecki in Fluorescences and in Polymorphia. Eam#e 8 $rom Fluorescences

ehi*i"s a di/ersi"% o$ s"rin #a%in "echni4+es knon aread% $rom "he #re/io+s

m+sica eam#e 0Eam#e 71, hich es"a*ish s#a"ia mo*ii"% s"raih" $rom "he

*einnin o$ rehearsa n+m*er 8;. A" n+m*er 8?, hoe/er, a ne, s#a"ia% immo*ie

semen" occ+rs, re#resen"ed *% inds #a%in i"h s"o#s and #is"ons. A$"er a *reak

0;)1, "his ne semen" is con"in+ed *% re#e"i"ions o$ "he inds3 hihes" #ossi*e no"es.

Th+s $ar, s#a"ia mo*ii"% is a""ri*+"ed "o s"rins and s#a"ia immo*ii"% "o ind

ins"r+men"s. B+" a" n+m*er ;; an +ne#ec"ed si"ch ha##ens: inds s+dden% "ake o/er"he s#a"ia% mo*ie semen" *% #a%in staccato #i"ches "ha" co/er "he hoe so+nd

'



s#ace, hie s"rins chane "o s#a"ia immo*ii"% re#resen"ed *% chords re#e"i"ions.

Beca+se "hese as" chords are #a%ed in o reis"er, "he s#a"ia% immo*ie semen" a"

"he same "ime ski#s $rom #osi"i/e "o nea"i/e "erm o$ "he o##osi"ion !hih /s. o

reis"er.!

Eam#e 8. Penderecki, Fluorescences 8;-;;

A+dio ie: 5Pendin co#%rih" cearance6

@a"iona Poish Radio S%m#hon% Orches"ra in Ka"oiceCond+c"or An"oni Wi"

5&?6 Whereas in "he $oreoin eam#e "he "o chains o$ semen"s are ke#" cear%

se#ara"ed, Eam#e ; shos ho "o "hreads rad+a% mere in"o one ano"her. rom

"he /ie#oin" o$ "he o##osi"ion !"em#ora mo*ii"% /s. immo*ii"%,! *o"h "hreads

re#resen" "he a""er, nea"i/e "erm, "ho+h reai>ed in di$$eren" a%s. In /ioins, "he

"em#ora immo*ii"% res+"s $rom maima densi"% o$ re#ea"ed im#+ses pizzicato,

hich #rec+des an% #erce#"ion o$ rh%"hmic #a""erns. In /ioas, ceos and con"ra*assi

"he momen"ar% chords, oriina% se#ara"ed *% more "han "hree-second *reaks, are

#ercei/ed as m+"+a% +nrea"ed, sine im#+ses. Ye" "he "em#ora in"er/as *e"een

"hem are rad+a% shor"ened, hich res+"s in a "ransi"ion $rom "em#ora immo*ii"% "o

mo*ii"% in "his "hread o$ m+sica narra"ion. A #arae "ransi"ion ha##ens aso in /ioins,e/en i$ "em#ora in"er/as *e"een maima% dense im#+ses remain e4+a. In reai"%,

"his #assae is *ased on a #ar"ic+ar com#osi"iona "rick and i/es in"eres"in #roo$ o$

Penderecki3s in"+i"ions a*o+" #rocesses o$ so+nd #erce#"ion. I" makes +se o$ "he $ac" "ha"

s+ccessi/e so+nds *ecome more discerni*e as "heir $re4+enc% chanes 0"h+s re#ea"ed

so+nds are "he hardes" "o hear indi/id+a%1. There$ore, "he im#ression o$ a rad+a

increase o$ "ime-s#ans *e"een indi/id+a pizzicato so+nds arises no" oin "o "he

#roressi/e enaremen" o$ #h%sica "ime-s#an /a+es, *+" "hro+h rad+a acceera"ion

o$ issando. As a res+" o$ "heir #arae "ransi"ions, "he hi"her"o se#ara"ed "hreads o$

m+sic $+se in"o one semen" a" rehearsa n+m*er 7?.

Eam#e ;. Penderecki, Polymorphia 72-7?

&)



A+dio ieCraco Phiharmonic Orches"ra

Cond+c"or <enr%k C>%>

5&F6 O$ co+rse, com#osi"iona s"ra"eies a##% no" on% "o sec"ions o$ a s#i" narra"ion,

*+" aso "o sine chains o$ semen"s. Beca+se e/er% semen" is de$ined *% a

com*ina"ion o$ a i"s "erms, a chane o$ one "erm s+$$ices "o chane a semen". B+" one

can aso chane "erms o$ more "han one ca"eor% hen mo/in $rom one semen" "oano"her. The hiher "he n+m*er o$ chanin "erms, "he hiher and hence more enera

aso "he e/e o$ semen"a"ion. The hierarch% o$ semen"a"iona e/es cons"i"+"es a

s%n"ama"ic co+n"er#ar" o$ "he earier disc+ssed #ro*em o$ #aradima"ic rea"ionshi#s

o$ semen"s. O*/io+s%, "he coser "he kinshi# *e"een "o consec+"i/e semen"s, "he

oer "he e/e o$ semen"a"ion es"a*ished *% mo/in $rom one o$ "hem "o "he o"her.

And con/erse%, "he oer "he kinshi# 0hence hiher "he con"ras" *e"een "hem1, "he

hiher aso "he e/e o$ semen"a"ion so es"a*ished. In a i/en #iece or a sec"ion

"hereo$, "he com#oser ma% i/e #re$erence ei"her "o minima chanes 0hence o#era"in

mos"% on "he oes" e/e o$ semen"a"ion1 or "o s"rikin con"ras"s 0hie o#era"in on

"he hihes" semen"a"iona e/es1. In "he $ormer case, "he res+" i *e a smoo"hness

and $+enc% o$ m+sica narra"ion, in "he a""er, narra"ion ai"a"ed and e#osi/e.

&&



52&6 S"i ano"her area o$ com#osi"iona s"ra"eies concerns rea"ions *e"een ca"eories.

Basica%, o$ co+rse, indi/id+a ca"eories are m+"+a% inde#enden", *+" "he com#oser

ma% crea"e ar"i$icia de#endences *e"een "hem *% inkin some o$ "heir "erms in"o

more or ess #ermanen" con$i+ra"ions. One eam#e o$ s+ch a con$i+ra"ion is "o *e

$o+nd in "he sec"ion o$ Fluorescences #a%ed earier, here hih reis"er is each "ime

com*ined i"h so$" d%namics and o reis"er i"h o+d d%namics 0Eam#e 21.

52)6 ina%, a com#osi"iona s"ra"e% ma% aso aim "o crea"e de#endences *e"een

ca"eories on "he one hand and indi/id+a e/es o$ semen"a"ion on "he o"her. This

ha##ens hen "he com#oser makes some ca"eories ac" mos"% on oer and o"hers

mos"% on hiher hierarchica e/es. In s+ch cases, one can s#eak o$ a hierarch% o$

ca"eories ass+med $or a i/en #iece or a sec"ion "hereo$, hence aso o$ hiher and oer

e/e ca"eories. Whie ca"eories o$ oer e/es acco+n" $or oca n+ances o$ a #iece,

hiher-e/e ca"eories are res#onsi*e $or i"s o/era $orma a%o+" as com#rehended *%

a is"ener. or eam#e, in Fluorescences a s"ron im#ression o$ a "ri#ar"i"e ABA $orm

arises oin "o "he ca"eor% !s#a"ia mo*ii"% /s. immo*ii"%! hich chanes on% "ice

in "he co+rse o$ "he #iece. An indi/id+a is"ener ma% +nders"and "his $orm 4+i"eo"herise, hoe/er, i$ "he is"ener concen"ra"es on ano"her ca"eor% or shi$"s a""en"ion

*e"een di$$eren" ca"eories as "he #iece +n$ods. The ana%"ica diarams o$ "his and

o"her Penderecki3s #ieces, inc+ded in m% *ook 09irka &''?1, can "h+s *e seen as "heir

#ar"ic+ar ma#s, s+mmin +# a "he #ossi*e ro+"es "he is"ener can "ake across "he

m+sic.

52&6 9% mos" immedia"e aim as "o e#ain ho Penderecki had dea" i"h "e"+re and,

conse4+en"%, ho a m+sic "heoris" sho+d dea i"h "he "e"+re o$ Penderecki3s

sonoris"ic #ieces. A $+r"her 4+es"ion is he"her "his e#ana"ion "es +s some"hin

/a+a*e a*o+" ho "o dea i"h "e"+re in enera. Cer"ain%, "e"+re and "im*re are "he

"o as#ec"s o$ m+sic in hich s%s"ema"ic ana%"ica a##roach is s"i missin. Perha#s

"he s%s"em o$ Penderecki, ea*ora"ed as his me"hod o$ com#osi"ion--*o"h "he *asic

s%s"em =+s" disc+ssed and "he "im*re s%s"em e$" aside $rom "his disc+ssion--ma% i/e

some ne im#+ses "o me"hods o$ m+sica ana%sis.

Danuta Mirka

Deart(ent o) Co(osition Conductin+ and Music T,eory

Music Acade(y

ul. -oe/od0ka 11

2343!5 6ato/icePoland

(irka7kuria.+li/ice.l

&2

mailto:[email protected]

mailto:[email protected]

Danuta Mirka - Texture in Penderecki's Sonoristic Style

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