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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Witold Lutosławski – Sacher Variation for solo cello () – Music Sales Classical
The longest presentation of the theme leads to a climax, in which the cello frantically repeats the first two notes in the series: The excerpt given in Example 3 contains the major structural character- istics of the work within itself. This robust structure allows very diverse musical elements to exist together. As seen in Example 1 below, there are four letters that directly correspond to the note names in German: Sacher Variation differs from all the other works of Luotlaswki since his Jeux Venitiens ofin that lutoslawsski contains no aleatory passages.
Skip to main content. 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.
Witold Lutoslawski: Sacher Variation For Solo Cello, Music Sales America – Hal Leonard Online
In contrast to the rest of Thread I, here the dynamic levels mf, p, and pp are present, sacheer the notes of the hexachord are used simultaneously for the first time. In this article, it has been assumed that the composer has a total freedom to create his work regarding to the endless possibilities that music offers, that the technics and principles he uses are not obligations, but only means bringing results, and that the composer makes the decision where and in what extent he gives place to these technics and principles, or vsriations he prefer a compositional process which is completely independent of them.
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This translation of the article, which is made by the author himself, is unpublished. Techniques of the Contemporary Composer. 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 The note which is transposed is always the lowest sounding pitch of the particular presentation of the hexachord. In this way, the melody and accompaniment functions, which are highlighted through the use of the instruments that aurally differ from each other, are also supported in regard to the pitches see Vogt Among the many tributes paid to Paul Sacher, the founder and conductor of the Basle Chamber Orchestra and Choir, on his 70th birthday in was sachr short work for unaccompanied cello, composed the previous year by Witold Lutoslawski.
The octave registers of the pitches has not taken into consideration in this stage. There is one more phrase of Thread I to be found in the last staff of the score, which includes three complete presentation of the Sacher hexachord.
Metamorphoses for cello and piano. The first four lines of the vriations London: In litoslawski first two measures of the movement, which is written with the twelve-tone technique, ten pitches of the twelve-tone row are played by the mandolin and guitar, and two pitches that remains are played by the violin and bass clarinet respectively. Disregarding whether it is a quaver or a semiquaver, the last note of the third and the following phrases have only one functionality: Mstislav Rostropovich approached several distinguished composers, asking them to write miniatures that he would perform during a birthday concert.
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. This developmental process is ordered according to the system shown in Example 4, which is not based on a precise cause-and-effect rela- tionship as we have seen in Table 1.
Thanks to succession of contrasting elements without ceasing, the work never loses its vitality while it constantly maintains its mechanic development. However, unlike some of these examples, the row in Example 2 has nothing to do with the concept hexachordal combinatoriality, which describes a particular construction of the twelve-tone row that consists of two hexachords which have in terms of the set theory the same prime forms, which means that the two hexachords are unchanged, inverted, or retrograded transpositions of each other see Cope 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: The pitches of the Thread II divided varlations phrases.
Neue Musik seit [New Music since ] 3rd edition. University of California Press. That the whole aural world, which is the primary foundation of the work, is going to be change if only one note in the Sacher hexachord is replaced with another one shows how integrated the Sacher lutoslaws,i with the overall structure of the work is.
Besides that, each musical thread processes its material on its very own way.
These processes do not cause any transformation of the hexachord except the change of the octave register, and nor the acquired result is determined by the vraiations. Sections belonging to both strands gradually become longer.
The Cambridge Companion to the Cello. As the sacber presentation of the Sacher hexachord in Thread I see Example 5the pitches of this phrase also are in the lowest octave register to be played by the violoncello. Materials and Techniques of Twentieth-Century Music. Discography – Sacher Variation for solo cello.
Ninateka – Three composers – Sacher Variation for cello solo
After this transposition, the note D becomes the lowest sounding pitch of the second presentation. The second strand is filled with rapid, less distinctive figures, played mostly piano.
Example 3 below shows the first four lines of the score. In addition to that, these pitches are emphasized through the insistent repetition at the end of the second, third, fourth, sixth, and scher phrases.