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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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 lutoxlawski 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.

Sacher Variation for cello solo – Three composers – Ninateka

The principle which the increase lutoslawsii the numerical quantity of the phrases is based on. These processes do not cause any transformation of the hexachord except the change of the octave register, and nor the acquired result is determined lutosoawski the hexachord. 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.

Discography – Sacher Variation for solo cello. The two variztions 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. Thus, it has been accepted that the discussed formations could be results of extremely complex, interwoven principles which cannot be explained with lutoslwski view from the outside, as well as they could be determined by the completely personal choices.


Continue using the site as normal or read our Privacy Policy. In addition to that, these pitches are emphasized through the insistent repetition at the end of the second, third, fourth, sixth, and eighth phrases.

After this transposition, the note D becomes the lowest sounding pitch of the second presentation.

This translation of the article, which is made by the author himself, is unpublished. Enter the email address you signed up with and we’ll email you a reset link. It will be seen that Lutoslawski, who excludes serial techniques and works with extremely limited pitch material, provides the formal development through a mechanical system and also uses the looseness as a formal element beside the organization.

In sections of this strand there emerge successive, increasingly long fragments sounded loudly, as if they were chanted. University of California Press.

A, C, H the German name of the pitch class Band E; and there are two letters that do not indicate any specific pitch classes by themselves: Sections belonging to both strands gradually become longer.

Analysis of the Work2 The pitch material of the work is divided into two sections: Materials and Techniques of Twentieth-Century Music. 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 Thanks to succession of contrasting elements without ceasing, the work never loses its vitality while it constantly maintains its mechanic development.

The systematic progression of the pitches of the Sacher hexachord from the lowest to the highest register of the violoncello.

Witold Lutoslawski: Sacher Variation For Solo Cello, Music Sales America – Hal Leonard Online

Help Center Find new research papers in: As seen in Example 1 below, there are four letters that directly correspond to the note names in German: Lutoslawsko Composition and Atonality 6th edition.


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. There is a good reason for this. The second strand is filled with rapid, less distinctive figures, lutoslawaki mostly piano.

Ninateka – Three composers – Sacher Variation for cello solo

Thread II contrasts with Thread I in every respect. Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin. Log In Sign Up.

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. The Cambridge Variatiions to the Cello.

Witold Lutosławski

The piece is shaped by two contrasting strands. The first four lines of the score London: The rhythmic order of the phrases of Thread I. This progress continues in the same way until the ninth phrase. Contemporary Music Review, 2: 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 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 in the third phrase B, E, D, and E flat.

Disregarding whether it is a quaver or a semiquaver, the last note of the third and the following phrases have only one functionality: