an analysis of formal determinants in the funeral music ......of witold lutoslawski by shad...

An Analysis of formal determinants in theFuneral Music for String Orchestra (1958) and

the String Quartet (1964) of Witold Lutoslawski

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Authors Bailey, Shad Culverwell

Publisher The University of Arizona.

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AN ANALYSIS OF FORMAL DETERMINANTS IN

THE FUNERAL MUSIC FOR STRING ORCHESTRA

(1958) AND THE STRING QUARTET (1964)

OF WITOLD LUTOSLAWSKI

by

Shad Culverwell Bailey

A Thesis Submitted to the Faculty of. the

DEPARTMENT OF MUSIC

In Partial Fulfillment of the Requirements

For the Degree of

MASTER OF MUSIC

In the Graduate College

THE UNIVERSITY OF ARIZONA

1 9 8 1

STATEMENT BY AUTHOR

This thesis has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library.

Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author.

SIGNED: JilLzJ(

APPROVAL BY THESIS DIRECTOR

This thesis has been approved on the date shown below:

E. W. MURPHY Professor of Music

r h J y /Date

ACKNOWLEDGMENTS

Profound gratitude to:

My parents9 James and Berneal Culverwell, for providing the

opportunity for me to pursue an early curiosity about music theory.

My teacher, Josephine Clark, for directing my curiosity in

a highly disciplined and progressive program.

My teachers. Dr. Leonard Pearlman and Mr. William Pflugradt,

for their patience and willingness to share some of their vast

knowledge of twentieth century music and compositional techniques.

My advisor, Mr. Pflugradt, for his guidance in the initial

stages of this project.

My reader and advisor, Dr. Edward Murphy, for his assistance

in the revisions and final draft of this document.

My husband, Robert, for his quiet and enduring encouragement.

TABLE OF CONTENTS

Page

LIST OF ILLUSTRATIONS ................... vi

ABSTRACT . , . . . „ ......................... - x

1 o INTRODUCTION .............. 1

Need for the Study ................... 2Plan of the Study . ................. 3

2. FUNERAL MUSIC . . . . . . . ............................ . . . 5

Formal Concerns .......... . . . . . . . . . 6Formal Diagrams........................... 12Prologue and Epilogue ................... 18

Pitch . ............................. 18Rhythm ................... 24Timbre. ........................... 28Dynamics . . . . ............. . . . . . . . . . . . 32Texture . . . . . . . . . . . . . . . . . . . . . . . 33

Metamorphoses ............ 35Pitch ......................... 35Rhythm . ..................... 43Timbre . .............. . 48Dynamics ................ 48Texture ........................... 48

A p o g e e .............................. 50Pitch .......................................... 50Rhythm .............................. . . . . . . . . 51Timbre ..................... 51Dynamics ................ 52Texture.......... 52

Larger Formal Concerns . . . . . . . . 52Prologue and Epilogue . . . . . . . . . . . ........ 52Metamorphoses ............... 53Apogee ............ 54

Summary ............................... 54

3. STRING QUARTET ............ 57

Formal Concerns........................... 60Formal Diagrams . ................... 63X Motive . ........................... 68

iv

V

TABLE OF CONTENTS— Continued

Page

P i t c h ........................................................................ o o e 76Aggregates . . . . . . . . . ................ « 76Tritone and minor second . . . . . . . . . . . . 79

Rhythm . .......... . 84T i m b r e ........... • ............ 88

Con sordino . . . ..................... 88Non vibrato .............. 89Pizzicato............ 89Sul Ponticello ................ 91Glissandi . » 91

Dynamics .......... 93Texture ..................... 93

Larger Formal C o n c e r n s ........................... 95P i t c h ...................................... 95R h y t h m ............................... 96T i m b r e ......................... 96D y n a m i c s ................ 97Texture . . . . ............................. . . . . . 97

Summary................................................... 98

CONCLUSIONS .............................. . . . . . 101

P i t c h ...................................... . 102Duration . . . ............................... 103Timbre . ............................... 105Intensity............................................ 106Texture................... 107

5. BIBLIOGRAPHY .............. . - 108

LIST OF ILLUSTRATIONS

Figure Page

1. Funeral Music, Twelve-note r o w ......... 5

2. Funeral Music, Transition from Prologue to Metamorphoses 7

3. Funeral Music, Transition from Metamorphoses to Apogee . 9

4. Funeral Music, Transition from Apogee to Epilogue . . . 11

5. Funeral Music, Prologue, Form . . . . . . . . . . . . . 13

6. Funeral Music, Metamorphoses, Form .................. 14

7. Funeral Music, Apogee, Form . . ........................ 15

8. Funeral Music, Epilogue, Form . .........................17

9. Funeral Music, Prologue canon entry points ............. 19

10. Funeral Music, Epilogue canon entry points ............. 20

11. Funeral Music, Epilogue, Multiple entries on one pitch . 20

12.' Funeral Music, Epilogue, All entries on one pitch . . . 21

13. Funeral Music, Distribution of Prologue dyad pitches . . 22

14. Funeral Music, Epilogue,' Solo row statement interruptedby c a n o n ................ . . . .2 3

15. Funeral Music, Epilogue, Systematic deletion of pitches 24

16. Funeral Music, Epilogue, Measure of silence ........... 25

17. Funeral Music, Epilogue dyad durations............. 26

18. Funeral Music, Prologue dyad durations .................. 27

19. Funeral Music, Prologue, Irregular canon entry ......... 29

20. Funeral Music, Prologue and Epilogue comparative ranges 31

vi

viiFigure Page

21o Funeral Music, Metamorphoses, Vertical pitch class sets 36

22o Funeral Music, Metamorphoses, Sequence . ................ 37

23o Funeral Music, Metamorphoses, Sequence . . . . . . . . . 38

24. Funeral Music, Metamorphoses, Inversion, Sequence andretrograde inversion • • • • o 0 .o . . . . . . o.- 40

25. Funeral Music, Metamorphoses, Four-part Sequence . . „ . 41

26. Funeral Music, Metamorphoses, Repetition . . . . . » . . 42

27o Funeral Music, Metamorphoses, Syncopation withoff-beat accents.......................................44

28. Funeral Music, Metamorphoses, Off-beat accents . . . . . 45

29. Funeral Music, Metamorphoses, H e m i o l a ............. .. . 47

30. Funeral Music, Metamorphoses, Range . ........... 48

31. Funeral Music, Metamorphoses, Sparse chordalaccompaniment................................... 49

32. Funeral Music, Apogee, Aggregates ...................... 50

33. Funeral Music, Apogee, Instrument ranges ............... 51

34. String Quartet, Mobile 4, Single x motive . ............61

35. String Quartet, Mobile 4, Multiple x motive . . . . . . 61

36. String Quartet, Introductory Movement, Form . . . . . . 64

37. String Quartet, Main Movement, O v e r v i e w ........... 64

38. String Quartet, Main Movement, F o r m ........... 68

39. String Quartet, Mobile 4, x motive delineation............69

40. String Quartet, Introductory Movement, Octaveplacement of x motive . . . . . . . . . . . . . . . 70

41. String Quartet, Introductory Movement, Transformedx motive . . . ............................ 71

viii

Figure Page

42. String Quartet, Mobile 12, Transformation of x motive . 72

43. String Quartet, Mobiles 16 and 22, Transformationof x motive . ........................ 73




47. String Quartet, Mobiles 1 and 2, Aggregate as aconnecting link . . . . . . . . . . . .............. 77

48. String Quartet, Mobiles 2 and 3, Aggregatefunctioning as a bridge . ............................ 77

49. String Quartet, Mobile 7, Fixed aggregate pitches foreach instrument ..................... .. . 78

50. String Quartet, Mobile 13, Overall tritone/minorsecond relationship . . . . . . . . . . . . . . . . 81

51. String Quartet, Mobile 27, Cadence pitches relatedto tritone and m2 ......................81

52. String Quartet, Mobiles 29-31, tritone/minor secondrelationship .........................................82

53. String Quartet, Mobiles 29-31, tritone/minor secondrelationship ............................... 82

54. String Quartet, Mobile 42, tritone/minor seconddistribution ............................ 83

55. String Quartet, Mobile 42, 0, 1, 2 , 3 set . . . . . . . 83

56. String Quartet, Mobile 46, Tritone arrangement . . . . . 84

57. String Quartet, Mobile 3, Use of full score . . . . . . 85

58. String Quartet, T e m p o .............................. 85

59. String Quartet, Mobile 42, Variable length fermatas . . 86

60. String Quartet, Mobile 7, Gradated note values ......... 87

ix

Figure Page

61. String Quartet, Mobile 25, Duration gradation inbowing patterns . . ........... 88

62o String Quartet, Mobile 50, Pizzicato used todelineate m o b i l e s ................... 90

63. String Quartet, Mobile 42, Extended glissandi at climax 92

64. String Quartet, Mobile 49, Glissandi on a repeatedpitCh 0 0 0 0 0 0 0 . 0 0 0 . 0 . 0 . 0 . 0 . 0 0 . 92

65o String Quartet, Mobile 9, Drone accompaniment ofVioloncello solo ........... 94

66. String Quartet, Mobile 12, X motive as a "quasihocket" t e x t u r e ..................... ............. 94

67o Funeral Music, Duration as it relates to overall form . 104

68. String Quartet, Imitation as it relates to overallform . . ............ 105

ABSTRACT' /

Both the Funeral Music for String Orchestra and the

String Quartet represent new directions in the music of the con

temporary Polish composer, Witold Lutoslawski

CHAPTER I

INTRODUCTION

Witold Lutoslawski, born January 25, 1913, is one of Polandf

leading contemporary composers. His works span from 1936 to the pre

sent and are representative of many genres. Large works include:

Symphonic Variations 1936-38First Symphony 1941-47Second Symphony 1966-67Overture for strings 1949Little Suite for chamber orchestra 1950Concerto for Orchestra 1950-54Five Dance Preludes 1955 rev. 1959Musique funebre for string orchestra 1958Three Postludes 1958-60Jeux venitiens 1961Livre 1968Cello Concerto 1970Mi-parti 1976

Chamber music is equally represented:

Trio for oboe, clarinet and bassoon 1945 Recitativo e Arioso for violin and piano 1951 Five Folk Melodies for strings 1952 Bucoliche (five pieces for viola and piano) 1952 Preludia taneczne for clarinet and piano 1954 String Quartet 1964Preludes and Fugues for thirteen solo strings 1971

Works for voice and instruments include:

Belated Nightingale and Mr. Tralala for voice and orchestra 1947

A Straw Chain for soprano, mezzo-soprano, flute, oboe, two clarinets and bassoon 1951

2

Five songs for female voice and thirty solo instruments 1958

Silesian Triptych for soprano and orchestra 1951 Three Poemes dTHenri Michaux for choir, wind instruments,

percussion, two pianos and harp 1963 Paroles tissees for tenor, string ensemble, harp, piano

and percussion 1965 Les Espaces du Sommeil for baritone and orchestra 1975

As the title suggests, this thesis will examine two of these

works, the Funeral Music for String Orchestra and the String Quartet,

in detailo

Need for the Study

At the time of writing, only one survey of the music of Witold2Lutoslawski was availablee The broad scope of Mr. Stucky?s study

does not allow a critical analysis of any one composition. In the

present writer's opinion there is a need to examine in detail at

least two representative works, one from an earlier and one from a

later style period, on order to establish consistent formal determinants.

The works list, performance reviews, numbers of awards and newly

commissioned works underscore the importance of this composer. It is

hoped that further studies of his compositions will be undertaken.

1. Nicolas Slonimsky, Baker's Biographical Dictionary of Musicians (New York: Schirmer Books, 1978), pp. 1053-1054.

2. Steven E. Stucky, "Part I: Kenningar (Symphony No. 4) Original Composition. Part II: The Music of Witold Lutoslawski:A Style-Critical Survey.", D.M.A., Cornell University, 1978.

Plan of the Study

An insight into the musical aesthetic of Witold Lutoslawski has

long been the object of Balint Andras Varga, publisher of the Editio

Musico Budapest. A series of taped interviews conducted on the

afternoons of March 12-17, 1973, in Lutoslawski’s home provided the3material for Varga’s book, Lutoslawski Profile. There is a decided

philosophical leaning to the Profile; Lutoslawski candidly discusses

his interest in composition, other twentieth century composers, and

his views on the worth of artistic endeavors in today’s society.

Gradually, a dualism may be perceived by the reader. On the

one hand, Lutoslawski acknowledges that he is not a "one school" com

poser, continually applying his craft to a single methodology. Along

with his claims of each work’s individualism, he also acknowledges

that there are compositional traits which remain a part of a composer’s

craft from one work to the next, i.e. a musical trademark. "If you

compare the works of a composer written in different periods of his

life, you will always find the same man behind them."

The bulk of this thesis consists of a parametrical analysis

of the Funeral Music and String Quartet to discover "musical trademarks"

which might exist. Each work is examined in separate chapters. Each

chapter begins with a general discussion and formal diagram; each

concludes with a look at larger formal concerns and a summary.

3. Balint Andras Varga, Lutoslawski Profile (London: J. & W.Chester, 1976).

4

Two of the large sections of the Funeral Music9 the Prologue

and the Epilogue, are discussed together because they share similar

compositional techniques. Canonic treatment utilizing different forms

of a twelve-note row and extended sections limited to pitch classes

f and b are studied. Rhythmic and dynamic augmentation and diminution

are touched upon. The combination of pitch, rhythm, timbre and

intensity into various texture types is discussed.

The Metamorphoses and Apogee are treated separately. The

gradual increase in both the simultaneous and successive densities

and overall dynamic level is examined in the Metamorphoses; the gradual

decreases in simultaneous and successive densities is studied in con

junction with an eventual dynamic decrease in the Apogee. Tabulations

of vertical pitch class sets found in the Metamorphoses are included

in this chapter. Resultant textures in both the Metamorphoses and

Apogee are briefly outlined.

The third chapter begins with an examination of the unique

use of aleatory techniques in the String Quartet. The x motive and

its transformations are shown in context and their uses are discussed.

The importance of the aggregate, tritone and minor second are examined.

The limited use of meter and rhythmic augmentation and diminution

provide materials for rhythmic analysis. Timbral concerns play an

important role in the Quartet. Each is discussed in a separate category.

Typical examples of textural and dynamic imitation are highlighted.

The paper ends with a summary and conclusions.

CHAPTER II

FUNERAL MUSIC

The Funeral Music for string orchestra is dedicated to the

memory of Bela Bartok. It consists of one large movement, divided into

four distinct divisions: Prologue, Metamorphoses, Apogee and Epilogue.

The measures are numbered consecutively throughout:

Measures 1 - 5 8 Prologue

Measures 59 - 233 Metamorphoses

Measures 234 - 245 Apogee

Measures 246 - 305 Epilogue

The Prologue and Epilogue will be discussed together in this

chapter. They represent Lutoslawski's only incursion into serial

composition. The row used in these two divisions is shown in Figure 1.

E z A _ D :g o V o ^ -

Figure 1. Lutoslawski, Funeral Music, Twelve-note row.

This twelve-note series consists of alternating tritones and minor

seconds never exceeding the span of a major seventh. Its presentation

is always linear and most often canonic. These canons range from two

to eight voices.

5

Sections in which all instruments repeat pitch classes f and

b alternate with the row canons. Each group (Violin I - II, Violin

III - IV, Viola I - II, Violoncello I - II with Contrabasses I - II

where applicable) is assigned a particular octave and duration. Entry

and exit points are staggered. Three of these tritone units are found

in the Prologue; two similar sections are contained within the Epilogue.

The Metamorphoses, longest of the four sections, is motivic.

Continuity is created by repetition and extension; rhythmic diminution

of motivic shapes creates an ever increasing sense of momentum. Verti

cal alignment of pitches reveals a predilection for certain pitch class

sets. Contrapuntal dynamics delineates particular tone colors but as

the Metamorphoses progresses, louder dynamics become more and more

commonplace; from measure 201 to measure 233 no dynamic except forte

or fortissimo is employed.

The Apogee is divided into three units. Each is begun with

a sustained chord made of a twelve-note aggregate. The first and

second units retain assigned aggregate pitches throughout. Each employs

a similar increase in successive density. The third unit gradually

decreases its successive density and does not retain its original

aggregate pitches; they, too, are decreased in number until all parts

are playing either pitch class na!l or pitch class "b^".

Formal Concerns

The four divisions are separated by different means. A grand

pause separates the Prologue from the Metamorphoses. A reduction of

simultaneous and successive density and intensity precedes the grand

7

pause. This provides a transition to the pianissimo irregularly

spaced pitches of the Contrabasses which begin the Metamorphoses

(Figure 2).

P.G

PC

ppP.G .

Vie I ell

P.G.Vc.IcD

P.GCb.

(attacca)

Metamorfozy • Metamorphoses

Figure 2. Lutoslawski, Funeral Music, Prologue-Metamorphoses, mm. 52-64, transition from Prologue to Metamorphoses.

8The immediate reduction of successive density from continuous

sixteenths of the Metamorphoses to the sustained tutti chord which

begins the Apogee creates a strong division (Figure 3).

3

Apogeum • Apogee

m dto appassionato}muisi vubalo)

, i i, w

m

m,n

m

f f i

M

Figure 3. Lutoslawski, Funeral Music, Metamorphoses-Apogee, mm. 231-235, Transition from Metamorphoses to Apogee.

10

The reduction of pitches to ja and coupled with a lessening

of successive density provides a smooth transition from the Apogee

to the Epilogue. The Epilogue immediately returns to the durations

and pitch content of the row forms; no value less than half note is

found in the canons. Likewise, no value is greater than a dotted

whole note, except in measure 249 (Figure 4).

Vni

Vc.

Cb.

11

Epilog • Epilogue

eul sol

Vn. n

DU IV

PPsul sol

Vie sul sol

Vc. I e 11

aCb.Icfi

PP

Figure 4. Lutoslawski, Funeral Music, Apogee-Epilogue, mm. 242-250, transition from Apogee to Epilogue.

f

12

The alternation between row canons and sections limited to

pitch classes f and b is illustrated in the formal diagram of the

Prologue (Figure 5).

Prologue

Section: A 1 2 3

Measures: 1 - 5 6 - 1 0 11 - 15

Dynamic: piano mezzo piano . mezzo forte

Device: two-voice canon three-voice canon four-voice canon

Instruments : VC I - II VLA I

VC I - IIVLA I - II VC I - II

4 5 6

16 - 20 21 - 26 26 - 30

quasi forte forte forte

six-voice canon eight-voice canon eight-voice canon

VLN III - IV VLA I - II * VC I - II

VLN I - II VLN III - IV VLA I - II VC I - II

VLN I - II VLN III - IV VLA I - II VC I - II CB I (doubling VC

B A B

29 - 35 33 - 38 37 - 43

- fortissimo mezzo forte fortissimo

f-b dyads eight-voice canon f-b dyads

(order of entry)

CB I - II VC I - II VLA I - II VLN III - IV VLN I - II

VLN I - II VLN III - IV VLA IVC I - II CB I

(order of entry)

VLN I - II VLN III - IV VLA I - II VC I - II CB I - II

Section: A B

Measures: 41 - 46 45 - 57 58

Dynamic: mezzo forte fortissimo pp grand pause

Device: eight-voice canon f-b dyads

Instruments: VLN I II (order of entry)VLN III - IV CB I - IIVLA I II VC I - IIVC I II VLA I - II

VLN III - IV VLN I - II

Figure 5. Lutoslawski, Funeral Music» Prologue, Form.

14

Formal design of the Metamorphoses is determined by the increase,

in which all parts share, in successive density. As each new value is

introduced, it first undergoes a period of irregular usage before

becoming the standard value (Figure 6).

Metamorphoses

Section:

Measures:

Fastestduration:

Attackdensity:

A

59 - 76 77 - 85

jirregular regular

86 - 101 102 - 112Jirregular regular

Section:

Measures:

Fastestduration:

Attackdensity:

113 - 128

D

129 - 141 142 - 221 222 - 233

irregular regular irregular regular

Figure 6. Lutoslawski, Funeral Music, Metamorphoses, Form.

15

Three distinct divisions in the Apogee delineate its form.

Both aggregates in the first half illustrate an increase of successive

density without changing assigned pitches until the cadence. In the

second half, assigned pitches are not retained; there is a reduction

in both numbers of pitches and successive density (Figure 7).

Apogee

mm.A 1

234 - 236

i236 - 238

P P0

pitch range pitch range

238 - 245

ityzr

o -

pitch range

Figure 7. Lutoslawski, Funeral Music, Apogee.mm. 234-236, 236-238, 238-245, Form and vertical range.

16

The Epilogue incorporates more diversity in its content than

did the earlier Prologue, In addition to the row canons and f - b

dyads the Epilogue employs a unison row statement, single measures

of rests and fragments of the row by a single instrument (Figure 8),

Epilogue

Section:

Measure:

Dynamic:

Device:

Instrument:

A1 B A

246 - 250 251 - 254 255 - 260

fortissimo pianissimo piano fortissimo piano

unison row

full ensemble

f - b dyads

VC I - IIVIA I - IIVLN III - IVVLN I - II

seven-voice canon

VLN I - IIVLN III - IVVIA I - IIVC I

B

261 - 266

piano fortissimo

f - b dyads

VC I - IIVLA I - IIVLN III - IVVLN I - II

A 1

265 - 268

fortissimo mezzo forte

eight-voice canon

VLN I - II VLN III - IV VLA I - II VC I - IICB I - II (doubling VC I)

269 - 273

mezzo forte piano

six-voice canon

VCVLA IVLN III - IV

274 - 278 279 - 284

piano pianissimo pianissimo

A

285 - 287

piano

A

288 - 289

pianissimo

four-voice canon two-voice canon solo row fragment six-voice canon

VLA I - II

VC I - II

VC I - II VC I VLA I - II VLN III - IV VLN II - I

17

290

Grand Pause

A

291

piano

single voice

VC I

A

292 - 294

pianissimo

six-voice canon

VLA I - II VLN III - IV VLN I - II

295

Grand Pause

A '

296

piano

single voice

VC I

297

Grand Pause

A

298

piano

single voice

VC I

299

Grand Pause

A

300 301

piano-dim. Grand Pause

single voice

VC I

A

302 303

piano-dim. Grand Pause

single voice

VC I

A

304

piano-dim.

single voice

VC I

305

rest

Figure 8. Lutoslawski, Funeral Music, Epilogue, Form.

18

Prologue and Epilogue

Pitch. Both Prologue and Epilogue employ canonic treatment

of the row (see Figure 1). Starting pitches of each canon are not

limited to the initial pitch of a row form. New entries in each of

the eight Prologue canons are related by tritone to the preceding

entry (Figure 9).

two—voice canon three-voice canon

V ■ • - i ') cf rm. 1 m. 6

four—voice canon six-voice canon

v n -----

¥-fei i vi

m. 11 mm. 16-17r

eight-voice canon

i f l B l \ 1 'I J

mm. 21-22

19

eight-voice canon

ir i

1

ram. 26-27

eight-voice canon

1r " tram. 33-35

eight-voice canon

i f Iram. 41-43

Figure 9. Lutoslawski, Funeral Music, Prologuemm. 1, 6, 11, 16-17, 21-22, 26-27, 33-35, 41-43,

Prologue canon entry points.

20Similarly, each new voice in the four adjacent Epilogue canons

(mm. 265-284) enters a tritone higher than the preceding last voice (Figure 10).

TV" - o o •--^ ----- T -- 1 ---e---tH2— : — X o — cz___________________

Figure 10. Lutoslawski, Funeral Music, Epilogue, mm. 265-284, Epilogue canon entry points.

Other Epilogue canons employ different entry procedures for ensuing2 1 1voices. Figure 11 shows two entries on f , b , and f .

IVno l solo

W no D solo

IVno msolo

. IVno IVsolo

IVla I sola

I Via U sola

1 Vc. 1 solo

Figure 11. Lutoslawski, Funeral Music, Epilogue, mm. 255-259, Multiple entries on one pitch.

21

All voices enter on the same pitch in the canons beginning on measures

288 and 292 (Figure 12).

Violin II

Violin III

Violin IV

Viola I

Viola II

con sord

viir

f p non Jibr.

ppnon uibrcon sord.

ppnon wbr

non vibr.

Measure 288

Violin II

Violin III

Violin IV

Viola I

Viola II

Measure 292

Figure 12. Lutoslawski, Funeral Music, Epilogue,mm. 288, 292, All entries on one pitch.

22

The distribution of the dyad pitches is the same in all

three Prologue appearances (Figure 13).

Violins I and II Violins III and IV

$Ie e I

Violas I and II Violoncellos I and II Contrabasses I and II

Figure 13. Lutoslawski, Funeral Music, Prologue, distribution of Prologue dyad pitches.

In contrast, a particular octave is not constant for each part in the

two Epilogue dyad statements.

As shown in the formal diagram, three unique row structures

are found only in the Epilogue. The first is a unison row statement

made of P^ plus the first five pitches of 1 ^ (see Figure A). The

second is a solo 1^ row statement interrupted by a six-voice canon

derived from the same 1^ form (mm. 286-294) (Figure 14).

23

con surd

con lord

Jtpnon vibr

Vie

non vibr

Figure 14. Lutoslawski, Funeral Music, Epilogue, solo row statement interrupted by six-voice canon.

The third unique Epilogue row structure is a successive decrease in

the end of the row beginning with pitch nine of 1^. Rests are

interpolated between each segment (Figure 15).

3 5 rit. al f3 ^ 4

PC.

PGP .G .

PG P.G.

PGP.G

PC

PG.

p diminmtndo al finr

24

4 . 3p,® *r 2 3 r c2i'/ - j'jjj-jt i- ,j_ j i ---T iJ I I -. j i - = 3

Figure 15. Lutoslawski, Funeral Music, Epilogue, mm. 296-305, systematic deletion of pitches.

Rhythm. Each of the two types of pitch selection (row forms

or alternating f - b dyads) has a particular rhythmic association.

Only half and dotted whole notes are used in the row forms. As each

new canon begins, entries follow at half-note intervals. The dyads

are more diverse and use values ranging from one to five units of the

basic half-note duration.

Rhythmic contrasts exist between the Prologue and Epilogue

as shown in the following examples. The Epilogue contains measures

of silence (mm. 290, 295, 297, 299, 301, 303, 305). Each complete

measure of rest is a "grand pause" except the last instance which

substitutes a fermata in place of the "grand pause" (Figure 16).

25

*ord

PC

VniP -G .

P .G .

PC

P.G.

IV c. 1 solo

5 rit. al fine 3 P G4P.G

PC. PC.

Vni P.G.P .G .

P.G P.G.

P G .P .G .

Vie PCP .G .PG.

IV c. I solo

p d im m m m do al finr

& ^4 . 3 p.c.®____pC 2 3 po 2 0 ̂i'f - j ,g i T - , 3 t - f -

Figure 16. Lutoslawski, Funeral Music, Epilogue,mm. 289-305, Measures of silence.

The Prologue has no periods of silence. Both Epilogue dyad sections

employ longer durations in each lower instrument (Figure 17).

Vni II

A'

Figure 17. Lutoslawski, Funeral Music, Epilogue, mm. 251-254, Epilogue dyad durations.

27The second of the three Prologue dyad sections, however, employs

shorter durations in each lower instrument (Figure 18).

.40.a

Vni U tuftiiVno 111 svlo

Vni m tutti

IVnoIV

Vni TV tutti

IVla Isola

IV la II sola

Vic U

IV c .I a =so lo ■■ S —

ahri

tubjf \ t u t t l a l tn

\ t u t t i

Cb 1 • I tn

Figure 18. Lutoslawski, Funeral Music, Prologue,mm. 38-41, Prologue dyad durations.

28

The Epilogue expands its variety of meters by the inclusion

of ^ and ̂ the final eight measures (see Figure 15), This particular

arrangement allows the remaining pitches of the final 16 tetrachord

a starting position on the second half-note of the measure (mm. 298/ 300,3302, 304) preceded by a measure of ̂ "grand pause".

Timbre. There are no short articulations in either Prologue

or Epilogue. The only distinction between row forms and dyads is

the accent ( ) accompanying each separated dyad pitch. Notes not

associated with a slur do occur in the row forms but there are no

accents.

Dyad pitches are always doubled by instrumental pairs.

Doubling occurs in both Prologue and Epilogue row forms but not with

such consistency. Row doubling is limited to Violoncelli I and

Contrabasses (measures 26-30, beat 2; 265-269).

The addition and deletion of instrumental colors is in score

order for both row and dyad structures with one exception. Contra

bass I becomes the eighth voice in the seventh Prologue canon,

measures 33-38. Viola II does not enter (Figure 19).

29

l Vno I solo

*lln

1 Vno IIsolo

subffehri

Vni U

1 Vno HIsolo

sub.ffVm HI

attri

1 Vno IVsolo

Vni IV

sola

Vie

solo

IVc IIsolo

IC b .Isolo

Cb.

Figure 19. Lutoslawski, Funeral Music, Prologuemm. 33-36, irregular canon entry.

30

The only unusual range demand is for Contrabasses in the

opening Epilogue row:

\ e

A comparison of ranges between the Prologue and Epilogue shows that

each instrument employs a wider range in the Epilogue (Figure 20).

Prologue Epilogue Prologue Epilogue

-CL

Violin I

IViolin II

Violin III Violin IV

Prologue Epilogue31

Prologue Epilogue

y D .... ' .. - 1 * 0 . . ..... . b ^ — t ;-----A : — — N I - b ------ - - 1 ? ■ K ---- :

0

Viola I Viola II

Vo bo-bo.

* -e

Violoncello I Violoncello II

e e ^ *

Contrabasses I Contrabasses II

Figure 20. Lutoslawski, Funeral Music, Prologue and Epilogue comparative ranges.

Dynamics * The number of voices employed in the Prologue

and Epilogue canons is relevant to the dynamic level. As the number

increases in the Prologue* there is an accompanying increase in the

dynamic level:

number of voices dynamic level starting measure

2 piano 1

3 mezzo piano 6

4 mezzo forte 11

6 quasi forte 16

8 forte 21

As the number decreases in the Epilogue, there is a corresponding

decrease in the dynamic level:


8 fortissimo 265

6 mezzo forte 269

4 piano 274

2 piano 279

A similar correlation is shown in those canons which are immediately

preceded and followed by dyad structures.

33


8 mezzo forte 33

8 mezzo forte 41

7 piano 255

5 pianissimo 288

6 pianissimo 292

After each Epilogue voice enters, a diminuendo is begun» No

corresponding crescendo exists in the Prologue,

All Prologue dyads begin fortissimo and end with a diminuendo.

The final dyad extends its diminuendo to "pianissimo perdenosi".

Both Epilogue dyads begin piano and crescendo to fortissimo.

The row structures unique to the Epilogue are a dynamic4realization of larger formal concerns. The opening unison P row

begins fortissimo but diminuendos to pianissimo during its last note

and the five-note fragment which follows illustrating a descent

from the Apogee (mm, 249-250), As pitches are deleted from the

final tetrachord, a corresponding dynamic reduction takes place

signalling a further decline (see Figure 15),

Texture, The contrapuntal texture resulting from canonic

treatment of the row is shared by both Prologue and Epilogue; the

dyads also represent a contrapuntal texture because of the different

note values employed in each instrumental group. Both Prologue and

Epilogue employ a decrease in simultaneous density at the end of the

movement; both include alternating solo(i) and tutti sections

with resultant textural changes as shown in the following:

34Prologue

Solo

mm. 1 - 1 5

mm. 33 - 36

mm. 41 - 44

Tutti

mm. 16 - 32

mm. 37 - 40

mm. 45 - 58

Epilogue

Solo

mm. 255 - 260

mm. 285 - 287

mm. 291

mm. 296 - 305

Tutti

mm. 246 - 254

mm. 261 - 284

mm. 288 - 289

mm. 292 - 294

One notable difference may be seen in the canons of the

Prologue and the Epilogue. Proliferating canons from two to eight

voices begin the Prologue. Conversely, a reduction from eight to

two canonic voices is begun in the twentieth measure of the

Epilogue. Canons with an absolute number of voices both preceded

and followed by dyad structures are found only near the conclusion of

the Prologue. They occur, however, in both the beginning and middle

parts- of the Epilogue. These isolated Prologue canons have eight

parts. Those in the Epilogue have seven, six and six parts

respectively. The dyads in the Prologue and Epilogue are also

differentiated by simultaneous density; more varied and expanded

usage is found in the Prologue.

35

The unison row and fragmented for solo Violoncello found

in the Epilogue represent the only example of monophony in both sections.

Metamorphoses

Pitch. Pitch class sets, subsets and IC 1 provide harmonic

continuity in much of the Metamorphoses. All vertical chords from

measures 59-89 are 0, 2, 7 sets. The same 0, 2, 7 is a subset in

all but three of the vertical chords from measure 90-127 and in all

but one chord from measure 132-136. The 0, 1, 3 subset is common

to all but two vertical configurations from measure 137-158. IC 1

continues as the initial interval in sixty-six percent of the sets

from measure 159-188. Subset 0, 1, 2, 7 (variant of the original

0, 2, 7 set) is common to all sets from measure 188-224 with four

exceptions. A high incidence of an initial IC 1 is included in the

vertical sets from measure 225 to the conclusion of the Metamorphoses.

In summary, the vertical pitch class subset occurring most

often and thus providing the greatest unity is 0, 2, 7. It occurs

in forty-two percent of the vertical pitch class sets. The

following table is an itemization of all Metamorphoses vertical

sets and a tabulation of their number of occurrences (Figure 21).

36Vertical Pitch Class Sets

0. 1, 2 - 10

0, 1, 3 - 8

0, 1, 4 - 11

0, 1, 5 - 9

0, 1, 6 - 1 3

0, 2, 4 - 4

0, 2, 5 - 7

0, 2, 6 - 7

0, 2, 7 - 9

0, 3, 6 - 3

0, 3, 7 - 10

0, 4, 8 — 3

0, 1, 2, 3 - 2

0, 1, 2, 4 - 20, 1, 2, 5 - 2

0, 1, 2, 6 - 4

0, 1, 2, 7 - 1

0, 1, 5, 6 - 3

0, 1, 6, 7 - 2

0, 2, 5, 7 - 5

0, 1, 2, 5, 6 - 2

0, 2, 3, 5, 7, 9 - 12

0, 1, 2, 6, 7 - 2

0, 1, 3, 5, 6 - 1

0, 1, 2, 5, 7 - 1

0, 1, 3, 7 , 8 - 1

0, 2, 3, 5, 7 - 4

0, 1, 3, 5, 7 - 2

0, 2, 3, 5, 8 - 1

0, 1, 3, 5, 8 - 1

0, 1, 3, 6, 8 - 4

0, 2, 4, 6, 9 - 1

0, 2,4, 7, 9 - 12

0, 1, 2, 5, 6, 7 - 2 0

0, 1, 2, 6, 7, 8 - 1 1

0, 1, 2, 5, 7, 8 - 22

0, 1, 3, 4, 7, 8 - 1

0, 2, 3, 5, 6, 8 - 1

0, 1, 3, 5, 6, 8 - 17

0, 1, 3, 5, 7, 8 - 7

0, 1, 2, 4, 7, 8, 9 - 1

0, 1,-2, 5, 6, 8 - 2

0, 1, 2, 5, 6, 9 - 1

0, 2, 4, 5, 7, 9 - 5

Figure 21. Lutoslawski, Funeral Music, Metamorphoses, Vertical pitch class sets.

37Much of the horizontal profile is motivically organized and

extended by sequence, repetition and inversion. A sequence is

shown in Figure 22.

Vni »ul ponlir

aul pontic

Cb.

Figure 22. Lutoslawski, Funeral Music, Metamorphoses,mm. 70-73, sequence.

Figure 23 is a sequential pattern which moves from Viola I to

Violin III.

I

nVni

m

IV

IP'M)I

Vie

II

I

Vc.

II

Cb. 1 e U

Vni

Vie 'ord

mpVc.

JS1 d j

Figure 23. Lutoslawski, Funeral Music, Metamorphoses,mm. 79-85, sequence.

39Inversion, sequence and retrograde inversion are shown in Figure 24.

The exchange between instrumental groups is common.

JOOj

Vni

UlelV

Vie

Vc.

Cb. D

JO 5.

lell

Vni Dl

Vie

Vc.

Cb.

40

no]

VlB ■

IcE

Cb.

— : /

leD

Vie

leD

/

Figure 24. Lutoslawski, Funeral Music, Metamorphoses, nun. 98-114, sequence with inversion.

41

A varied sequence is illustrated in Figure 25. The fourth statement

is in retrograde and is also inverted.

Vni in

y* pesantfv ie n

Jpesantt

Vc.

ptsantr

Cb.

fp esa n tr

125,

Vni IB

Vie II

Vc.

Cb.

Figure 25. Lutoslawski, Funeral Music, Metamorphoses,mm. 121-126, four-part sequence.

42Aural but not visual repetition is seen in the exchange of parts

between Violin I-II, Violin III-IV and Viola I-II (Figure 26).

I

D

Vra

Cb.

ff

Figure 26. Lutoslawski, Funeral Music, Metamorphoses,mm. 201-203, repetition.

43Unique to the Metamorphoses is the inclusion of complete

scalar patterns. Their name, type, instrument and measure number(s)

are listed below:

Name Mode Instrument Measure

Bb Major Violin I 169

E Major Violin I 170

Eb Major Violin II 171

Eb Major Violin I 172

E Mixolydian Violin II 173

Bb Dorian Violin.I 176-177

b Natural minor Violin II 177

bb Natural minor Violin I 181-182

B Phrygian Violin II 182

a" Natural minor ' Violin I 184

D. Dorian Violin I 185

C# , Dorian Violin II 186

C Mixolydian Violin II 187

Rhythm. Rhythm delineates form in the Metamorphoses. The

increase in successive density moves from irregular quarter-notes

with interpolated rests to a continuous sixteenth-note attack density.

Each new value is heard first on an irregular basis but becomes the

value of the attack density before a faster duration is introduced

(see Figure 6). Clear divisional lines are created.

44

This is not to imply that other durational values do not

exist in the Metamorphoses. Rhythmic variety is exemplified in the

Metamorphoses by syncopation, hemiola and off-beat accent. Syncopation

with accompanying off-beat accents is illustrated in Figure 27.

Vie

Vc. u

Figure 27. Lutoslawski, Funeral Music, Metamorphoses, mm. 90-93, syncopation with off-beat accents.

45

Figure 28 is typical of the off-beat accents found in the Metamorphoses.

Vni

Vc.

— //Cb.

Figure 28. Lutoslawski, Funeral Music, Metamorphoses,mm. 142-144, off-beat accents.

46Hemiola illustrated in Figure 29 sets Viola II against Violin III-IV

and Viola I; it is indicative of the rhythmic variety found in the

Metamorphoses.

j30Jle ll

Vni

Vie

Vc.

Cb

/

47

y ptsantr

Vni

Vie

Vc.

Cb.

/

Figure 29. Lutoslawski, Funeral Music, Metamorphoses, mm. 127-134, hemiola.

The use of many different meters is unique to the Metamorphoses.

(Meters of ^, 2* 2* and 2 occur in the Epilogue but ̂ and ̂are foundonly in the last eight measures.) Duple, triple, quadruple, and

quintuple units occur in irregular order from the beginning of the

Metamorphoses to measure 129 (seventy measures). A simple triple 3meter, ^ , begins in measure 129 and continues to the end of the

Metamorphoses (one hundred-four measures). This implies a quicker

succession of down-beat pulses which complements the increasing

successive density. The quarter-note as the basic duration is found

only in the Metamorphoses.

48

Timbre. Regular arco bowing is employed in most of the

Metamorphoses. Contrasts include combinations of sul ponticello

and pizzicato which occur from measure 59 through 85 (see Figure 2

for pizzicato) and combinations of measured tremolo and glissando

found in measures 232-233 (see Figure 3).

Ranges for all members of a particular string instrument

type are the same (Figure 30).

IViolins I - IV

I IViolas I - II

I iVioloncelli I - II Contrabasses I - II

Figure 30. Lutoslawski, Funeral Music, Metamorphoses, range.

Dynamics. Contrapuntal dynamics add variety to the overall

increase in dynamic levels from pianissimo to fortissimo during

the Metamorphoses.

Texture. An increase in simultaneous density continues

throughout the Metamorphoses with polyphonic and homophonic

49textures predominating. Monophony occurs only in the opening six

measures (see Figure 2). Homophony, often associated with sparse

accompanimental chords as illustrated in Figure 31 below, occurs with more frequency.

,120J

Vm m

Vc.

Cb

Figure 31. Lutoslawski, Funeral Music, Metamorphoses, mm. 118-120, sparse chordal accompaniment.

The increase in successive density from quarter to eighth and

sixteenth notes is first articulated in Violins I and II. Each occurs

in a homophonic setting. The polyphony which follows each increase

is a result of the faster durations having been incorporated into

the lower timbres. Motivic exchanges are common with this

assimilation.

50

Apogee

Pitch. Each of the twelve chromatic pitches is assigned1 2to a particular instrument in both A and A . Each aggregate is

arranged differently but remains unchanged in these two units; section

B, also consisting of a twelve-note aggregate at its inception,

employs a gradual reduction of pitches to a m2 dyad. This pitch

reduction is complemented by a gradual narrowing of range. The

three aggregates, arranged on either treble and bass clef staves or

on just a bass clef staff, show the distribution of the twelve

pitches as they occur in each of the three sections (Figure 32).

A* Composite B Composite

8vaV q I

pA Composite

a *

Figure 32. Ludoslawski, Funeral Music, Apogee, aggregates.

51

Rhythm. The Apogee meter of ^ is unchanging. However, slight

variations may exist becuase of the "molto appasionato, quasi rubato"

indication. Each of the three divisions is begun with a sustained

chord and each is separated by a rest. All parts move together.1 2Sections A and A each employ three increases in successive

density. The increases take place within the duration of a half

note. Section B employs six reductions in successive density. The

durations of the reductions vary in length but each takes the length

of at least two half notes.

Timbre. No special effects are employed. Ranges vary for

each part, including those from like instrument groups (Figure 33).

Violin I

IViolin II Violin III Violin IV

Viola I Viola II Cello I Cello II Contrabass I

£V s

33=

Contrabass II

1Figure 33. Lutoslawski, Funeral Music, Apogee,

Instrument ranges.

52

Dynamics. The Apogee is sempre fff.

Textureo A thick simultaneous density is created in sections

a V and A^ by the twelve-note aggregates; all but two chords within

the first nine measures include twelve pitch classes. As the number

of pitches is reduced in the final section, a parallel reduction in

density takes place.

Larger Formal Concerns

The larger formal concerns of the Funeral Music are reflected4in the definitions of each division:

Prologue - the preface or introduction to a discourse or performance; specifically,, the discourse or poem spoken before a dramatic performance or play begins; hence, anything which precedes an act or event.

Metamorphoses - the result of metamorphic action; any change of form, shape, structure, or nature; transformation.

Apogee - figuratively, the culmination of anything.

Epilogue - in oratory, a conclusion; the closing part of a discourse, in which the principal matters are recapitulated.

The literary connotations of "prologue" and "epilogue" are expanded in

this instance to include musical considerations.

Prologue and Epilogue. Parametrical comparison reveals a

balance and direct relationship between the two framing divisions.

Unity is created by their similar canonic treatment of the same row

with alternating f - b dyads. Canon and dyad durations and a soft

4. Webster's Twentieth-Century Dictionary (Unabridged)

53

dynamic ending are also shared. Similar articulations and instrumental

combinations (including solo and tutti groups) are found in both

divisions. The Prologue and Epilogue add and subtract canonic voices

to create a thinner-to-thicker or thicker-to-thinner texture. A

similar addition and subtraction process is shared in the dyads.

Contrasts are created by dynamics (in parts other than at

the ends of the divisions), timbre (by the inclusion of "con sordino"

and "non vibrato" in the Epilogue), rhythm (by the inclusion of periods

of silence in the Epilogue), and texture (Epilogue monophony).

Metamorphoses. In a larger sense the purpose of the Meta

morphoses is to break away from the confines of the Prologue and to

create a strong rhythmic, dynamic and textural build-up to the Apogee.

These ends are accomplished in the following four ways. First, the

rules of pitch selection ascertained by the row canons and dyads

in the Prologue are abolished; motivic treatment, modal scales and

a multitude of different intervals create strong contrasts to the

tritone, minor second arrangement of the row. Secondly, there is

a gradual increase in successive density. Each duration is first

established on an irregular basis but it becomes the characteristic

value of the attack density before the next increase in successive

density. Third, there is an overall increase in intensity. (Motives

are delineated by dynamics and thereby create some diversity to the

overall dynamic rise.) Finally, there is a gradual increase in

simultaneous density. This is accomplished by the addition of

instruments and is a by-product of the increased rhythmic activity.

54

Apogeeo The Apogee represents the culmination of the

Metamorphoses and is the high point or climax of the composition.

Simultaneous twelve-note aggregates are found in all but the last

three measures. The Apogee telescopes the successive density increase

of the Metamorphoses in its initial two statements. Each employs

a series of progressively faster durations. The intensity level (fff)

is the highest level of the composition. Timbral and textural contrasts

are created by different arrangements of the twelve-note aggregates.

Not sacrificed, however, is the dynamic level or number of instru

ments. The dynamic remains fff, and as the pitch content is reduced,

doubling of the remaining pitches retains the instrumentation of the

full ensemble.

The Apogee also represents a descent from the climax of

the composition. To facilitate the descent the twelve aggregate

pitches are gradually reduced to a dyad of two, the range is

diminished from over four octaves to a minor second and the successive

density is gradually reduced.

Summary

Unity and contrast create form on both intra- and inter-

divisional levels in each of the four divisions of the Funeral Music.

Intra-divisional unity is created in the Prologue by the

recurrence of both the canonic row and f - b dyad sections. Contrast

in the canons is created by the number of canonic voices included,,

the instrumentation and the order of instruments as they are added.

55Although the f - b dyads retain specific octaves for each instrument

as they appear in new dyad sections, contrast is created by duration

both in terms of the overall length of the different dyad sections

and with regard to durations for a particular instrument in different

sections.

Intra~divisional unity is created in the Epilogue by a similar

recurrence of the canon at the tritone and f-b dyads. Contrast is

created as the functions of the row are expanded to include unison

statements, solo statements and canons which allow entries at inter

vals other than the tritone. Contrast in the dyads includes

duration, both in terms of individual note values for different

instrument groups and in overall dyad section length, similar to

that shown in the Prologue. The use of different octaves of pitch

classes f and b for each instrument as they appear in different

dyads is a contrast unique to the Epilogue.

Unity is created in the Metamorphoses by the repetition of

certain vertical pitch class sets, the increase in successive density

and the overall increase of intensity and simultaneous density.

Contrast is created by the many different motives that make up the

horizontal profile, the rhythmic variety (hemiola, syncopation)

appearing as an adjunct to the overall increase in successive density

and the momentary shifts away from the overall increase of intensity

and simultaneous density.

Unity is created in the Apogee by a continuous successive

density gradation, one dynamic level and one meter. Contrast is

created by the change from two smaller sections employing an increase

in successive density to one long section of continuously decreasing

successive density. Contrast is also created by the reduction in

pitch content from a twelve-note aggregate to a two-note dyad in

the final section.

Inter-divisional unity and contrast is created by similar

and dissimilar pitch, rhythms, timbre, dynamic and textural controls

applied to each division. The Prologue and Epilogue create unity

because each is made of the same two compositional devices with

similar durations, simultaneous densities and timbral concerns. The

Metamorphoses and Apogee are contrasting divisions because each is

dependent on different unifying and contrasting parametrical controls

to create intra-divisional form and neither resembles either the

Prologue or Epilogue.

CHAPTER III

STRING QUARTET

The String Quartet was commissioned by the Swedish Radio on

the occasion of the tenth anniversary of the series of contemporary

music concerts, "Nutida Musik'% It was premiered by the La Salle

Quartet (Stockholm, March 12, 1965)» In a letter to one of its

members, Mr. Lutoslawski describes the work as "consisting of a

sequence of mobiles which are to be played, one after another, without

any pause if there is no other indication". In the ordinary sense,

"mobiles" refer to hanging art objects in which several parts are

suspended by nearly invisible filaments; air movement allows each

part its own freedom or mobility without disturbing the artist'sr

overall spatial conception. Lutoslawski has adapted the mobile

technique to music in the String Quartet. Each mobile is made of

from one to four parts and is governed by certain cues (aural and

visual) which serve as musical filaments. In turn each mobile,

with its connecting cues, retains a particular level of importance

to the formal plan as a whole. The mobiles are organized into two

divisions, "Introductory Movement", an introduction and mobiles

one through the first half of mobile thirteen, and "Main Movement",)

the latter half of mobile thirteen through mobile fifty-one.

57

58

The Quartet is unique because it represents the first

instance of aleatory, albeit controlled, in the music of Lutoslawski.

An explanation of its application and basic technique used in the

Quartet is excerpted from the aforementioned letter.

Within certain points of time particular players perform their parts quite independently of each other.They have to decide separately about the length of pauses and about the way of treating ritenutos and accelerandos. However, similar material in different parts should be treated in a similar way. You wrote that you ’must have a score so that each one knows what the other one is doing and at what points events coincide1. The point is that one of the basic techniques used in my piece is that in many sections of the form each particular player is supposed not to know what the others are doing, or, at least, to perform his part as if he were to hear nothing except that which he is playing himself. In such sections he must not bother about whether he is behind or ahead of the others. This problem simply does not exist because of measures which have been taken to prevent all undesirable consequences of such freedom. If each performer strictly follows the instructions written in the parts, nothing can happen that has not been foreseen by the composer. All possible lengthenings or shortenings of the duration of the sections as played by each particular performer cannot affect the final result in any decisive way. The lack of a score is partly compensated for by a whole system of signals written in the parts, fragments of the piece scored traditionally, frequent use of cues, etc. In a given part I have often written the part of another instrument when the first instrument is to accompany the second one.

You may ask me why I attach such a great importance to the non-existence of a score of my piece. The answer is quite simple: if I did write a normal score, superimposing the parts mechanically, it would be false, misleading, and it would represent a different work.This would suggest e.g. that the notes placed on the same vertical line should be always played at the same moment, which is the contrary to my intention. Further, it would prevent each performer from being free enough in his rubatos, ritenutos, accelerandos, pauses and above all in his own tempos. That would deprive the piece of its "mobile" character which is one of its most important features.

59

The "whole system of signals written in the parts" refers to

the aural and visual cues. The following examples typify the kinds

of performance cues employed in the Quartet.

Aural Cues

Mobile

Introduction

37

45

Instrument

Violin I

Violin II ViolaVioloncello

Violin I Violin II

Violin I Violin II Violoncello

Direction

repeat the phrase between repeat marks until the audience has become completely quiet

repeat until the entrance of Violin I then stop immediately

repeat until the ’cello’s ff pizz. chord, then play as far as the nearest rest and go on to 38

sustain this note until everyone reaches his A-flat. Then general pause for about one second

Visual Cues

42

Violin I give the viola a signal

Viola the first violin will give you asign before the beginning of the cue

Violin I repeat only if the viola and ’celloViolin II have not yet turned over their pages

Aural - Visual Cues

35 Violoncello

Violin II Viola

wait until everyone has finished before ff pizz.

go on immediately after the ’cello’s ff pizz. chord

60

Tempo flexibility is also indicated at certain points in the

score:

mobile 14 Each performer should play his part asif he were alone. Changes of speed (acc. and rit.) generally relate to individual parts and should be so treated

mobile 4 the wavy line suggests unequal distancebetween entrances

The reference to "fragments of the piece scored traditionally"

is illustrated in mobiles five, ten and eleven. In these instances

a different meter is assigned to each part and the tempo, "40

measures/min." is given. Metronome markings are indicated in mobile

five because less than a minute's worth, only seventeen measures,

is included. In mobile forty-three, also scored traditionally, all

parts change their fermata whole notes together. There is no tempo

or meter indication.

Formal Concerns

Two basic structures are contained in the Introductory

Movement. One, motive x, is made of separately articulated octaves

of pitch class "c". It occurs either singly (Figure 34) or in

extended groups of alternating instruments in different registers

(Figure 35).

61

Figure 34. Lutoslawski, String Quartet, mobile 4, Introductory movement, Single x motive.

vno I

vno II

via

vc.

) Uotr felufcct oiB*ct»x BlertiDne odxcpv e l td iy • I be e*vy Unr•uggeen unequal diataaor* befveeo entrances

Figure 35. Lutoslawski, String Quartet, Introductory Movement, mobile 4, Multiple x motives.

Usually the motive x occurs at the end of a mobile signalling the

beginning of a new imitative texture. As shown in Figure 35 the wavy

line suggests unequal distances between entries.

The second basic structure may be expressed in terms of

texture. Motivic fragments are shared among the four instruments in

many mobiles by imitation. Often, these fragments incorporate only

three pitches with a different set being assigned to each instrument

resulting in a combined twelve-note aggregate. Other times, pitch

selection overlaps without negating the effects of rhythmic imitation.

62A third subsidiary structure centered around the activities

of a single instrument for an entire segment is seen only in the

introduction and in mobile two. Unity in these monophonic segments

is created in large part by imitation and extension. Dynamic and

registral differences provide contrast in the introduction; durational

twists create a variety of patterns in mobile two.

The Main Movement is similarly organized into mobiles. The

x motive is no longer limited to a single pitch class but does retain

the same shape, unequal time allotment between entries and single

instrument order of presentation. The function of the x motive (to

separate textures) as seen in the Introductory Movement is found

only in two instances of the Main Movement, mobile thirty-nine and

at the end of mobile forty-seven. Moreoften, a transformation of

the x motive is employed as an integral part within many of the Main

Movement mobiles.

In addition to an expanded usage of the Introductory Movement

structures and materials, the Main Movement includes new compositional

techniques. Imitation may be shared among three instruments allowing

the fourth a more soloistic role. Two kinds of imitation may be seen

in one mobile by pairing. A set of the same materials may be included

for all parts within a mobile but in different orders of presentation.

Each part may be derived from a different contrasting Introductory

mobile thus creating a collage effect. Many mobiles of the Main

Movement are grouped into large divisions. These divisions are

determined by similarities of pitch, duration, timbre and intensity.

63

Formal Concerns and Diagrams

The formal design of the Introductory Movement is determined

by a recurring imitative texture, rather than specific pitch or

durational properties. Contrasting materials alternate with the

imitative texture; motive x which occurs at the beginning and end

of mobile four, at the end of mobiles five through ten and which is

the total substance of mobile twelve, delineates the textural changes

to establish a rondo form. Mobile thirteen is the Coda; its materials

are derived from motive x and the introduction (Figure 36).

Introductory Movement

Mobile:

Tempo:

Dynamic:

Texture:

x motive:

Introduction

recitative

variable

monophonic

A

1

slow

soft

imitative

B

2fast, sporadic

medium loud

monophonic

A

3a

fast, intermittent

soft

imitative

C

3b

slow

very soft

polyphonic

A

4

very fast

med. soft-very soft

imitative

before and after

D

5

moderate (metered) very soft

imitative

after

A

6fast, intermittent

very soft

imitative

after

64

E

7

varied

soft

freely imitative

after

A

8fast, intermittent long durations very soft

imitative

after

F

9

slow accel. fast

melody - varied accomp. - very soft melody with accomp.

after

D

10

slow(metered), very soft

freely imitative

after

11mod. slow

varied

imitative

x motive

12

fast

quasi loud

x motive

Coda

13

slow-recitative

very soft-varied

imi tat ive-melody with accomp.

Figure 36. Lutoslawski, String Quartet, Introductory Movement, Form.

Tempo, texture and intensity are key factors in the formal

organization of the Main Movement. The movement is divided into

four large divisions, the first two of which are largely determined

by textural controls; tempo and intensity share equally with texture

in determining the third and fourth divisions. An overview of the

movement is given in Figure 37.

Divisions: A B\ C (Dev.) D Coda

Mobiles: 13-34 35-38 39-42 43-50 51

Figure 37. Lutoslawski, String Quartet, Main Movement, Overview.

65

The mobiles of the first division are mainly imitative.

Sub-divisions are created by grouping together those mobiles which

employ a similar imitative device. The second large division is made

of mobiles which employ a double imitation or split texture. The

third division is the most complex and developmental. It contains

a variety of textures including a collage of assorted fragments from

mobiles of the Introductory Movement, an x motive design from assigned

aggregate pitches and imitation similar to that found earlier in the

movement. The highest dynamic of the Quartet is found in this

division; durational values are short providing an added element of

tension. The last division begins with a decided dynamic contrast

(subito piano) which prevails throughout the remainder of the movement.

Durations are slow for the most part with an occasional very fast,

excitable line designed to balance a slower, more soloistic part.

Figure 38 is a more detailed formal plan. The tempo, dynamics,

texture and any unique characteristics of each mobile (or groups of

mobiles, if applicable), is given.

Main Movement

Large division: A

Mobiles: 13 - 34

Sub-section(s): 1 13 2 14-23

Tempo (a), Dynamics (b), Unique Characteristics (c) Texture (d):

b) f«^>p, p ^ fc)d) imitative

a) very fast a) fastb) loud (soft in 14)c) all aggregates.

assigned pitches d) imitative

66

3 24-28 4 29-31 5 32-34

a) slow (variety by bowing patterns), fast

b) p

67

2 39 3 40 4 41

a) moderateb) very loudc) motive x

aggregated) hocket

a) variable, fastb) soft, very loudc) collaged) imitative/collage

a) VLN I,II, VIA fast-slow alternationVC slow

b) VLN I,II, VIA med loud VC very loud

c) VLN I,II, VLA gradual revealing of x motive shape

d) imitative

D (textural recap)

5 42 43 - 50 2 45

a) variable, accel., slow 1 43-44 a) slowpresto, gradual ritard b) soft =-)

b) loud, soft^ff, very loud. a) very slow c) siciliano char., allsubito piano b) soft parts use same

c) aggregate reduced to four c) scored pitchespitches d) chordal d) imitative

d) imitative

3 46 4 47

a) slowb) very softc) made of VLA,d) imitation

VC slides

a) VLN slowVLN II fast, intermittent VLA, VC fast=v>slow

a*) continued ritardb) VLN I quasi loud

VLN II softVLA, VC very, very soft

b*) medium loud=£>ppc) VLA, VC mirrord) imitative with VLN II support dl) x motive hocket

68

5 48 6 49

a) VLN I variable VLN II fastVLA repeated, fast intermittent

b) VLN I soft, VLN II, VLA very softc) collaged) polyphonic

a) slowb) soft^>very softc) VLN I,II only

descending slidesd) imitative

7 50

a) VLN I,II, VLA very fast VC slow

b) VLN I, II, VLA med loud^=>soft VC (little) loud

c) three parts imitative, one independent

d) imitative with VC intro

CODA

51

a) VLN I,II, VLA fast-intermittent VC slow

b) VLN I,II VLA very soft, very very softVC med sof t

69

recurrence. It is found at the end or beginning of diverse imitative

textures and helps to create strong divisions. The first appearance

of the x motive is brief but with the help of a five second pause,

it delineates a diverse polyphonic texture from one that is highly

imitative (Figure 39).

vc.

vno II

Figure 39. Lutoslawski, String Quartet, IntroductoryMovement, mobile 4, x motive delineation.

70

All x motives of the Introductory Movement are taken from a

selection of the following four octaves of pitch class c_. Each of

the four octaves is represented by a numerical figure; the ordering

of the octaves as they occur in the different motive x patterns is

shown in Figure 40. The x motive is found at the beginning and/or

ending of the mobiles listed in the left column; a small x is placed

before or after the number according to its placement except for

mobile twelve which is made exclusively of motive x.

" , ".::o : ~—

oO : — : -• =-/::z ---O _ o. ------------------

*Octave 1 2 3 4

Mobile Ordering of pitch class c octaves as they occur in motive x4 14 X 1 2 4 3 1 4 3 1 2 45 X 2 2 1 4 36 X 3 3 2 4 17 X 2 2 4 3 1 28 X 2 1 49 X 1 310 X 412 1 4 3 2 4 1 4 3 1 4 2

4 3 1 4 2 4 2 1

Figure 40. Lutoslawski, String Quartet, IntroductoryMovement, Octave placement of x motives.

71

The Main Movement does not include repeated octaves of c but

does incorporate a transformation of the x motive in many of its

mobiles. This transformation relates to both pitch and duration

but the basic shape of low-high alternation is retained. The

Introductory Movement includes two instances of x motive transfor

mation. The first is found in the introductory mobile for Violin I

(Figure 41). Here, neither repeated pitches nor perfect octave

leaps are retained but an alternating low-high shape is evident.

praripifsnrfo

Figure 41. Lutoslawski, String Quartet, Introductory Movement, Transformed x motive.

The second instance is at the conclusion of the movement.

After its initial presentation in mobile twelve, the x motive

creates a bridge to the recapitulation of the opening solo statement.

Rather than octave c's each instrument is assigned pitches from

an 0, 1, 2, 3 set made of pitch classes b, c, d^ and d. The

disposition of the pitches remains constant for each instrument;

their low-high alternation resembles motive x's basic shape

(Figure 42).

72

vno I

vno II

via

vc.

Figure 42. Lutoslawski, String Quartet, Introductory Movement mobile 12, Transformed x motive.

In the Main Movement mobiles fourteen through twenty-three

offer many good examples of x motive transformation. In mobile

sixteen the Viola employs an alternation of and b^* with frequent

repetition of one or both pitches. Again, the high-low alternation

resembles the x motive. In mobile twenty-two an intermediate2 y/ipitch (c ) is interpolated between the alternating low-high f and

2g , each of which is further emphasized by the inclusion of an

accent. Figure 43 illustrates the transformed x motives as they

occur in mobiles sixteen and twenty-two.

73

via■ rifaal tfcu pee here

Mobile 16

via

Mobile 22

Figure 43. Lutoslawski, String Quartet, Main Movement, mobiles 16 and 22, transformation of x motive.

Transformed x motives are illustrated in mobile thirty-six

in both Violin I and Violoncello against the background of fast-

moving thirty-second notes in the other two parts. Accents and

separate articulations help to set them apart.

A transformed x motive is included in one of the collage

mobiles (mobile thirty-eight). Here the Violoncello retains the

low-high shape of the x motive but rather than the exclusive use of

pitch-class c, the alternation is between the single lower d and

the higher two-pitch pattern of e ^ and d^\ The motive stands

74

out against its surroundings because of the dynamic (f), articulation

( » , and dotted eighth rests placed on either side (Figure 44).

vc.

Figure 44. Lutoslawski, String Quartet, Main Movement, mobile 38, transformation of x motive.

Mobile thirty-nine illustrates two x motive transformations.

The c’s are no longer used. Rather, each instrument is assigned

different pitches from twelve-note aggregates. Their positioning

and rhythmic placement provide the low-high alternation characteristic

of motive x (Figure 45).

pUi ca rvno I

cm V

vno II

ca I"

viaca rca I'-

V C .

odmlcpv esmmoive pomlfd&y posmcsegdlnymt mkofdemt pourtnny supetole ^ednmkoivr Uk disimnces bctveen penkulmr chord# should not be mbmoluiely equal

Figure 45. Lutoslawski, String Quartet, Main Movement,mobile 39, transformation of x motive.

75

Mobile forty-one illustrates a gradual unraveling of a

transformed x motive. In the three upper parts certain pitches are

set apart by interpolated rests, separate articulations and poco

ritard markings. These pitches, separated from the etc.

background pattern, retain the x motive shape by their low-high

alternation and retention of a specific ordering of pitches. The

Violoncello builds an outline of the x motive by adding one pitch

with each repetition of the pattern. Again, the c?s are not

employed;, pitches are chosen which typify the x motive high-low

basic design. Once established, the ordering of pitches is

constant (Figure 46).

76

vno IHi.

Vvno II

via

via

V C .

Hi.

ex; peuxa llcxp e*t od tale)

Figure 46. Lutoslawski, String Quartet, Main Movement mobile 41, transformation of x motive.

Pitch Aggregates.

Aggregates are an integral part of both the Introductory and

Main Movements. They create unity within individual mobiles and on

occasion serve as connecting links between two adjacent mobiles.

In many instances individual pitches remain assigned to particular

instruments for the duration of the aggregate. Figure 47 demonstrates

77

the aggregate as a connecting link between mobiles one and two

utilizing fixed pitches for each instrument.

Mobile 1 Violin II f e b^

Viola a d#

Violoncello g^ d c^

Mobile 2 Violin I c f^ g b

Figure 47. Lutoslawski, String Quartet, Introductory Movement, mobiles 1 and 2, aggregate as a connecting link.

In the above example the completion of the aggregate represents not

only a change in instrumentation but also a change in texture from

imitative polyphony to monophony. In Figure 48 (a bridge between

mobiles two and three) Violin II and Viola are added but the single

note chromatic line begun in mobile two is continued without a

change in character or texture.

vnoll

Figure 48. Lutoslawski, String Quartet, Introductory Movement, mobiles 2 and 3, aggregate functioning as a bridge.

78

In the Introductory Movement it is common to exclude the

pitch c from the aggregate until the x motive at the close of the

mobileo This occurs in mobiles six, seven, eight, and eleven.

Mobiles five, six, eight and eleven allow a sharing of pitches c^

through b among the members of the quartet. Mobile seven, one of

the rhapsodic and freely stated mobiles, employs fixed pitches for

each instrument. The Viola part is unique. In the first half of

mobile seven its pitches are the same as those of Violin II

(a^, c^, b, d); in the second half they duplicate those found in

Violin I (g^, f, a, f^) (Figure 49).

Violin I f f^ g^ a

Violin II c c# d a# b

Viola

Violoncello

c# b d

f a

e g eb (d^)

Figure 49. Lutoslawski, String Quartet, Introductory Movement, mobile 7, fixed aggregate pitches for each instrument.

Aggregates are often used to coalesce groups of mobiles into

larger units in the Main Movement. Many mobiles include all twelve

pitches shared freely among the ensemble but of particular interest

are those which employ fixed aggregate pitches for each instrument.

Mobiles fourteen through twenty-three represent such an example.

Only mobiles sixteen and eighteen present unique circumstances;

mobile sixteen does not include an f and mobile eighteen, begun with

79

a complete aggregate9 gradually reduces its complement to include only

c^9 d eb, e and f. (Each instrument includes d and one other pitch.)

Mobile thirty-seven is an excellent example of intra-mobile

unity achieved by assigning aggregate pitches to particular instru

ments. Violins I and II share pitches d f b; pitches d^ a g^ and

a^ are assigned to the Viola. The remaining pitches, c^ g a and d

are found only in the Violoncello.

Two examples of the basic x motive shape are found in mobile

thirty-nine. Each motive includes a twelve-note aggregate with assigned

pitches for each instrument (see Figure 45).

Mobile forty-two represents the longest single unit of the

Quartet. Its second half is begun with a wide-spread twelve-note

aggregate. The aggregate is prolonged by each instrument as it

divides its assigned pitches into two sets of alternating double

stops before continuing repeated articulations of the complete chord.

A final example of aggregate usage is found in mobile forty-

eight. Unlike many of the earlier assigned pitch mobiles, forty-

eight does not employ an equal distribution. Violin I controls

c c# f^ g a*3 a b^ and b ; Violin II has d e^ and f; Viola articulates

repeated e vs and the Violoncello is tacet.

Pitch. Use of the tritone and minor second. .

The recurrence, both in melodic and harmonic form of the

tritone and minor second is a second important pitch consideration.

Both the Introductory and Main Movements employ these two intervals

to create unity.

80

The first instance in which these intervals predominate

is the opening introductory statement for solo violin. Only three

kinds of pitch relationship are present: 1) no motion, 2) movement

by tritone above or below, and 3) movement by minor second above

or below. Octave displacement is allowed in each of these categories.

In the second half of mobile one, Viola employs only pitches

of the tritone a-d^. Violin II and Violoncello employ motives made

of one tritone and one minor second. Each of the Violin II and

Violoncello patterns is repeated in different octaves.

Mobile four is restricted to mostly minor seconds. Violin II

and Viola each have one instance of a melodic whole tone but the

effect of inconsistency is negligible because a sixteenth rest with

a fermata is interpolated between the two pitches which form the

whole tone. The starting pitches (Violin I, b^. Violin II, b^^, and

Viola, a^) are related by semitone but all parts resolve on a unison

d^ ̂before the return of the x motive (see Figure 39).

An overall tritone/minor second relationship exists in the

second part of mobile thirteen which is also the beginning of the

Main Movement. All parts begin the passage with an e^ and end

on e*, a minor second higher. The highest pitch is a^; the lowest

is a^. In addition to being related by semitone each of these two

pitches is related by tritone to either the beginning or ending

pitches (Figure 50).

81

i aFigure 50. Lutoslawski, String Quartet, Main

Movement, mobile 13, overall tritone/minor second relationship.

Mobiles twenty-four through twenty-eight all cadence on four

pitches related by both tritone and minor second. Mobile twenty-

seven illustrates this pattern (Figure 51).

vno I

U t fu n k e d begin [21]

(ID

vno II. . ------------ . — . ebigpkJem[II] together w*h Ike 1* Ttotin

viaI) [Ml remem s p*er— f > mkrmgp [111 u g e tk er e k k Ike 1* rlolln

V C .r e e g m ekngpkU mIke I* rlolln

Figure 51. Lutoslawski, String Quartet, Main Movement, mobile 27, cadence pitches related to tritone and minor second.

82

Mobiles twenty-nine through thirty-one each retain specific

pitches for Violin II, Viola and Violoncello. A vertical alignment

of these pitches reveals an on-going tritone/minor second relation

ship. In the following illustration, tritones are enclosed in

boxes; minor seconds are connected by lines (Figure 52).

Violin II

Viola

Violoncello

C

G

Mobile 29 Mobile 30 Mobile 31

Figure 52. Lutoslawski, String Quartet, Main Movement, mobiles 29-31, tritone/minor second relationship.

The initial pitches for Violin I consist of those which form two

tritones and are related by minor second (Figure 53).

Figure 53. Lutoslawski, String Quartet, Main Movement, mobiles 29-31, tritone/minor second relationship.

As the segment progresses, however, the above pitches in Violin I

are often ordered to form consecutive perfect fourths or fifths rather

than tritones or semitones.

Each of the x motives of mobile thirty-nine is made of a

different arrangement of the twelve chromatic pitches (see Figure 45).

Once established the pitches are fixed for each instrument. In both

83

instances the chords thus formed in each part are made of semitones

(with octave displacement).

The climatic twelve-note aggregate at the fff "poco largo"

in the mobile forty-two is distributed so each instrument includes

either a tritone or minor second in its chord spelling (Figure 54).

IB E I V oViolin I Violin II Viola Violoncello

Figure 54. Lutoslawski, String Quartet, Main Movement, mobile 42, tritone/minor second distribution.

An 0, 1, 2, 3 set is created by combining the pitches from all four

instruments after the long bowed slide near the conclusion of this

same mobile (Figure 55).

— — — ——^

iFigure 55. Lutoslawski, String Quartet, Main Movement,

mobile 42, 0, 1, 2, 3 set.

A tritone (A - d) is formed at the conclusion of mobile

forty-six. Both parts are begun on a unison f but on its second

repeat the Viola's bottom pitch (d) forms a tritone with the bottom

pitch of the single major sixth Violoncello slide (f - A^) (Figure 56)

84

bafte erfth ike cello

viarr —-— rrr rf~H— — rrr rr — =“ rrr m̂ rnJo

VC.rr rrr ew n W o

Figure 56. Lutoslawski, String Quartet, Main Movement, mobile 46, tritone arrangement.

Only one of the normally scored sections (mobiles forty-three

and forty-four) employs the same basic duration for all instruments

thus making a traditionaly analysis of vertical structures possible.

A study of these chords reveals that eighty percent contain a semi

tone. The presence of both a semitone and a minor third is relatively

high (60%); chords containing both a minor and major second (30%) and

chords containing both a major second and perfect fourth (25%) are

somewhat less common.

Rhythm. Mobiles five and ten-eleven are the only ones that

employ meters, albeit a different meter, for each instrument.

(The same meters are retained in both instances.) A relative tempo

is indicated as there are no note values which have the same length

in any two of the four parts but vertical dashes are used in place

of traditional measure bars to aid in performance.

A full score is used to denote x motives to insure the proper

ordering of parts; it is also employed to insure chromatic pitch

ordering as found at the beginning of mobile three (Figure 57).

85

c»r cm I

vnoll

via>

Figure 57. Lutoslawski, String Quartet, mobile 3, use of full score.

Throughout the remainder of the Quartet, Lutoslawski has

indicated tempo by giving a time allotment in which a certain number

of a specific duration could be executed (Figure 58).

Introduction-Mobile 1 ca 5 J^/sec.

Mobile 2 piu mosso 7-8 ^ /sec.

Mobile 3-4 ca 5 ^/sec.

Mobile 5 metered

Mobile 5 (x motive) - 9 Tempo I

Mobile 10-11 metered

Mobile 12-13 ca 5 /sec.

Mobile 13-42 ca 7 f /sec.

Mobile 42 Presto ca 10 ^ /sec.

Mobile 43-44 no tempo indicated but slow because of the fermata whole notes.

Mobile 45-46 Funebre ca 5 J^/sec.

Mobile 47-51 5 ^/sec.

Figure 58. Lutoslawski, String Quartet, Tempo.

86

Innumerable tempo nuances are marked throughout each part.

In mobiles which require a certain ensemble relationship, written-in

musical cues are standard. Other visu

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