AN ANALYSIS OF FORMAL DETERMINANTS IN THE FUNERAL MUSIC FOR STRING ORCHESTRA (1958) AND THE STRING QUARTET (1964) OF WITOLD LUTOSLAWSKI

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1 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

STATEMENT BY AUTHOR This thesis has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is

Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made.

department or the Dean of the Graduate College when in his judgment the proposed use of the material is in the interests of scholarship.

2 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: J i l L z J ( 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

3 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.

4 TABLE OF CONTENTS Page LIST OF ILLUSTRATIONS... vi ABSTRACT., x 1 o INTRODUCTION... 1 Need for the Study... 2 Plan of the Study FUNERAL MUSIC Formal Concerns Formal D i a g r a m s Prologue and Epilogue Pitch Rhythm Timbre Dynamics Texture Metamorphoses Pitch Rhythm Timbre Dynamics Texture A p o g e e Pitch Rhythm Timbre Dynamics T e x t u r e Larger Formal Concerns Prologue and Epilogue Metamorphoses Apogee Summary STRING QUARTET Formal C o n c e r n s Formal Diagrams X Motive iv

5 V TABLE OF CONTENTS Continued Page P i t c h... o o e 76 Aggregates «76 Tritone and minor second Rhythm T i m b r e Con sordino Non vibrato P i z z i c a t o Sul Ponticello G l i s s a n d i.» 91 Dynamics Texture Larger Formal C o n c e r n s P i t c h R h y t h m T i m b r e D y n a m i c s Texture S u m m a r y CONCLUSIONS P i t c h Duration Timbre Intensity T e x t u r e BIBLIOGRAPHY

6 LIST OF ILLUSTRATIONS Figure Page 1. Funeral Music, Twelve-note r o w Funeral Music, Transition from Prologue to Metamorphoses 7 3. Funeral Music, Transition from Metamorphoses to Apogee Funeral Music, Transition from Apogee to Epilogue Funeral Music, Prologue, Form Funeral Music, Metamorphoses, Form Funeral Music, Apogee, Form Funeral Music,Epilogue, Form Funeral Music, Prologue canon entry points Funeral Music, Epilogue canon entry points Funeral Music, Epilogue, Multiple entries on one pitch ' Funeral Music, Epilogue, All entries on one pitch Funeral Music, Distribution of Prologue dyad pitches Funeral Music, Epilogue,' Solo row statement interrupted by c a n o n Funeral Music, Epilogue, Systematic deletion of pitches Funeral Music, Epilogue, Measure of silence Funeral Music,Epilogue dyad durations Funeral Music, Prologue dyad durations Funeral Music, Prologue, Irregular canon entry Funeral Music, Prologue and Epilogue comparative ranges 31 vi

7 vii Figure Page 21o Funeral Music, Metamorphoses, Vertical pitch class sets 36 22o Funeral Music, Metamorphoses, Sequence o Funeral Music, Metamorphoses, Sequence Funeral Music, Metamorphoses, Inversion, Sequence and retrograde inversion o 0.o o Funeral Music, Metamorphoses, Four-part Sequence Funeral Music, Metamorphoses, Repetition.....» o Funeral Music, Metamorphoses, Syncopation with off-beat a c c e n t s Funeral Music, Metamorphoses, Off-beat accents Funeral Music, Metamorphoses, H e m i o l a Funeral Music, Metamorphoses, Range Funeral Music, Metamorphoses, Sparse chordal a c c o m p a n i m e n t Funeral Music, Apogee, Aggregates Funeral Music, Apogee, Instrument ranges String Quartet, Mobile 4, Single x motive String Quartet, Mobile 4, Multiple x motive String Quartet, Introductory Movement, Form String Quartet, Main Movement, O v e r v i e w String Quartet, Main Movement, F o r m String Quartet, Mobile 4, x motive delineation String Quartet, Introductory Movement, Octave placement of x motive String Quartet, Introductory Movement, Transformed x motive

8 viii Figure Page 42. String Quartet, Mobile 12, Transformation of x motive String Quartet, Mobiles 16 and 22, Transformation of x motive String Quartet, Mobile 38, Transformation of x motive String Quartet, Mobile 39, Transformation of x motive String Quartet, Mobile 41, Transformation of x motive String Quartet,Mobiles 1 and 2, Aggregate as a connecting link String Quartet,Mobiles 2 and 3, Aggregate functioning as a bridge String Quartet, Mobile 7, Fixed aggregate pitches for each instrument String Quartet,Mobile 13, Overall tritone/minor second relationship String Quartet, Mobile 27, Cadence pitches related to tritone and m String Quartet, Mobiles 29-31, tritone/minor second relationship String Quartet,Mobiles 29-31, tritone/minor second relationship String Quartet, Mobile 42, tritone/minor second distribution String Quartet, Mobile 42, 0, 1, 2, 3 set String Quartet, Mobile 46, Tritone arrangement String Quartet, Mobile 3, Use of full score String Quartet,T e m p o String Quartet, Mobile 42, Variable length fermatas String Quartet, Mobile 7, Gradated note values... 87

9 ix Figure Page 61. String Quartet, Mobile 25, Duration gradation in bowing patterns o String Quartet, Mobile 50, Pizzicato used to delineate m o b i l e s String Quartet, Mobile 42, Extended glissandi at climax String Quartet, Mobile 49, Glissandi on a repeated pitch o String Quartet, Mobile 9, Drone accompaniment of Violoncello solo String Quartet, Mobile 12, X motive as a "quasi hocket" t e x t u r e o Funeral Music, Duration as it relates to overall form String Quartet, Imitation as it relates to overall form

10 ABSTRACT ' / Both the Funeral Music for String Orchestra and the String Quartet represent new directions in the music of the contemporary Polish composer, Witold Lutoslawski<, The Funeral Music offers his first use of serial composition, albeit applied only to the first and last divisions of the work. Likewise, the String Quartet contains his first usage pertaining to the elements of aleatory, or chance, music. Unlike the Funeral Music, this latter technique is applied throughout with but a few exceptions. Analysis of the two scores by a parametric study of pitch, rhythm, timbre, intensity and texture reveals a certain predilection of this composer for favored intervals, twelve-note aggregates, rhythmic gradation, uniform dynamics and imitative texture. Aspects of larger formal concerns also reveal certain tendencies common to both the Funeral Music and the String Quartet. x

11 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 First Symphony Second Symphony Overture for strings 1949 Little Suite for chamber orchestra 1950 Concerto for Orchestra Five Dance Preludes 1955 rev Musique funebre for string orchestra 1958 Three Postludes Jeux venitiens 1961 Livre 1968 Cello Concerto 1970 Mi-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 1964 Preludes 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

12 2 Five songs for female voice and thirty solo instruments 1958 Silesian Triptych for soprano and orchestra 1951 Three Poemes d THenri 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 Witold 2 Lutoslawski 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 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.

13 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 the 3 material 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" composer, 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).

14 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 conjunction 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.

The measures are numbered consecutively throughout: Measures 1-58 Measures 59-233 Measures 234-245 Measures 246-305 Prologue Metamorphoses Apogee

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.

15 CHAPTER II FUNERAL MUSIC The Funeral Music for string orchestra is dedicated to the memory of Bela Bartok. four distinct divisions: It consists of one large movement, divided into Prologue, Metamorphoses, Apogee and Epilogue. The measures are numbered consecutively throughout: Measures 1-58 Measures Measures Measures Prologue Metamorphoses Apogee 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

16 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. Vertical 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

IcD P.G. Cb. P.G (attacca) Metamorfozy Metamorphoses Figure 2.

17 7 pause. This provides a transition to the pianissimo irregularly spaced pitches of the Contrabasses which begin the Metamorphoses (Figure 2). P.G PC Vie Iell pp P.G. Vc. IcD P.G. Cb. P.G (attacca) Metamorfozy Metamorphoses Figure 2. Lutoslawski, Funeral Music, Prologue-Metamorphoses, mm , transition from Prologue to Metamorphoses.

18 8 The 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

19 m dto appassionato}muisi vubalo),i i, w Apogeum Apogee m m,n m f f i M Figure 3. Lutoslawski, Funeral Music, Metamorphoses-Apogee, mm , Transition from Metamorphoses to Apogee.

10 The reduction of pitches to ja and coupled with a lessening

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

20 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.

21 11 Epilog Epilogue eul sol Vn. n DU IV sul sol PP Vie sul sol Vc. I e 11 a Cb. Icfi PP Figure 4. Lutoslawski, Funeral Music, Apogee-Epilogue, mm , transition from Apogee to Epilogue.

22 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 Measures: Dynamic: piano mezzo piano.mezzo forte Device: two-voice canon three-voice canon four-voice canon Instruments : VC I - II VLA I VC I - II VLA I - II VC I - II 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 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 I VC I - II CB I (order of entry) VLN I - II VLN III - IV VLA I - II VC I - II CB I - II

23 Section: A B Measures: 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 - II VLA I II VC I - II VC I II VLA I - II VLN III - IV VLN I - II Figure 5. Lutoslawski, Funeral Music» Prologue, Form.

24 Formal design of the Metamorphoses is determined by the increase, 14 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: Fastest duration: A j J Attack density: irregular regular irregular regular Section: D Measures: Fastest duration: Attack density: irregular regular irregular regular Figure 6. Lutoslawski, Funeral Music, Metamorphoses, Form.

15 Three distinct divisions in the Apogee delineate its form.

changing assigned pitches until the cadence.

numbers of pitches and successive density (Figure 7). Apogee mm.

25 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 i P P 0 pitch range pitch range i t yzr o - pitch range Figure 7. Lutoslawski, Funeral Music, Apogee. mm , , , Form and vertical range.

26 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: A 1 B A fortissimo pianissimo piano fortissimo piano Device: unison row f - b dyads seven-voice canon Instrument: full ensemble VC I - II VIA I - II VLN III - IV VLN I - II VLN I - II VLN III - IV VIA I - II VC I B A piano fortissimo fortissimo mezzo forte mezzo forte piano f - b dyads VC I - II VLA I - II VLN III - IV VLN I - II eight-voice canon VLN I - II VLN III - IV VLA I - II VC I - II CB I - II (doubling VC I) six-voice canon VC VLA I VLN III - IV A A piano pianissimo pianissimo piano 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

27 17 A A A ' Grand Pause piano pianissimo Grand Pause piano single voice six-voice canon single voice VC I VLA I - II VLN III - IV VLN I - II VC I A A Grand Pause piano Grand Pause piano-dim. Grand Pause single voice single voice VC I VC I A A piano-dim. Grand Pause piano-dim. rest single voice single voice VC I VC I Figure 8. Lutoslawski, Funeral Music, Epilogue, Form.

Starting pitches of each canon are not limited to the initial pitch of a row

28 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 f r V - i ') c m. 1 m. 6 four voice canon six-voice canon v n m. 11 mm r -fei i vi eight-voice canon i f l B l \ 1 'I J mm

33-35 1 r " t eight-voice canon i f ram.

29 19 eight-voice canon ram i r i 1 eight-voice canon ram r " t eight-voice canon i f ram I Figure 9. Lutoslawski, Funeral Music, Prologue mm. 1, 6, 11, 16-17, 21-22, 26-27, 33-35, 41-43, Prologue canon entry points.

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

TV" - o o -- ^ ----- T - - 1 ---e -- -th2 : X o cz Figure 10.

Other Epilogue canons employ different entry procedures for ensuing 2 1 1 voices.

30 20 Similarly, each new voice in the four adjacent Epilogue canons (mm ) enters a tritone higher than the preceding last voice (Figure 10). TV" - o o -- ^ T e -- -th2 : X o cz Figure 10. Lutoslawski, Funeral Music, Epilogue, mm , Epilogue canon entry points. Other Epilogue canons employ different entry procedures for ensuing voices. Figure 11 shows two entries on f, b, and f. IVno l solo W no D solo IVno m solo. IVno IV solo IVla I sola I Via U sola 1 Vc. 1 solo Figure 11. Lutoslawski, Funeral Music, Epilogue, mm , Multiple entries on one pitch.

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

31 All voices enter on the same pitch in the canons beginning on measures 288 and 292 (Figure 12). 21 Violin II Violin III con sord f p non Jibr. viir Violin IV Viola I Viola II ppnon uibr con 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).

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

As shown in the formal diagram, three unique row structures are found only in the Epilogue.

32 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 ) (Figure 14).

23 con surd con lord Jtpnon vibr Vie non vibr Figure 14.

in the end of the row beginning with pitch nine of 1^.

33 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. P.G. PG PG P.G. P.G PG PC P G. p diminmtndo al finr

24 4. 3p, * r 2 3 r c2 i'/ - j'jjj-jt i-,j_ j i ---T ij I I -. j i - = 3 Figure 15. Lutoslawski, Funeral Music, Epilogue, mm.

Each of the two types of pitch selection (row forms or alternating f - b dyads) has a particular rhythmic association.

The dyads are more diverse and use values ranging from one to five units of the basic half-note duration.

34 p, * r 2 3 r c2 i'/ - j'jjj-jt i-,j_ j i ---T ij I I -. j i - = 3 Figure 15. Lutoslawski, Funeral Music, Epilogue, mm , 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 Vni P -G. P.G. PC P.G. IV c. 1 solo P.

pc2 3 po2 0 ^ i'f - j,g i T -, 3 t - f - Figure 16.

35 25 *ord PC Vni P -G. P.G. PC P.G. IV c. 1 solo P.G 5 rit. al fine 3 PG4 PC. PC. Vni P.G. P.G. P.G P.G. P.G. P G. Vie P.G. PC IV c. I solo PG. p dim m m m do al finr & ^ 4. 3 p.c. pc2 3 po2 0 ^ i'f - j,g i T -, 3 t - f - Figure 16. Lutoslawski, Funeral Music, Epilogue, mm , Measures of silence.

each lower instrument (Figure 17). Vni II A' Figure 17.

36 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 , Epilogue dyad durations.

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

$i a = solo S ahri tubjf \ t u t t l a ltn Cb 1 Itn \ t u t t$

37 27 The second of the three Prologue dyad sections, however, employs shorter durations in each lower instrument (Figure 18)..40. a Vni U tufti ivno 111 svlo Vni m tutti IVnoIV Vni TV tutti IVla I sola IV la II sola Vic U IV c.i a = solo S ahri tubjf \ t u t t l a ltn Cb 1 Itn \ t u t t i Figure 18. Lutoslawski, Funeral Music, Prologue, mm , Prologue dyad durations.

38 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, 3 302, 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; ). The addition and deletion of instrumental colors is in score order for both row and dyad structures with one exception. Contrabass I becomes the eighth voice in the seventh Prologue canon, measures Viola II does not enter (Figure 19).

39 29 l Vno I solo *lln 1 Vno II solo Vni U ehri subff 1 Vno HI solo Vm HI attri sub.ff 1 Vno IV solo Vni IV sola Vie solo IVc II solo IC b.i solo Cb. Figure 19. Lutoslawski, Funeral Music, Prologue mm , irregular canon entry.

$Contrabasses in the opening Epilogue row: \e A$ comparison of ranges between the Prologue and

wider range in the Epilogue (Figure 20).

40 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 I Violin I Violin II Violin III Violin IV

31 Prologue Epilogue Prologue Epilogue y D. '.

Contrabasses I Contrabasses II Figure 20.

41 31 Prologue Epilogue Prologue Epilogue y D. '. - 1 * b ^ t ;----- A : N I - b ? K ---- : 0 Viola I Viola II V o -bo. bo * -e Violoncello I Violoncello II e e ^ * Contrabasses I Contrabasses II Figure 20. Lutoslawski, Funeral Music, Prologue and Epilogue comparative ranges.

42 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: number of voices dynamic level starting measure 8 fortissimo mezzo forte piano piano 279 A similar correlation is shown in those canons which are immediately preceded and followed by dyad structures.

43 33 number of voices dynamic level starting measure 8 mezzo forte 33 8 mezzo forte 41 7 piano pianissimo 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 dynamic 4 realization 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, ), 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:

44 34 Prologue Solo mm mm mm Tutti mm mm mm Epilogue Solo mm mm mm. 291 mm Tutti mm mm mm mm One notable difference may be seen in the canons of the Prologue and the Epilogue. voices begin the Prologue. Proliferating canons from two to eight 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.

45 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 are 0, 2, 7 sets. The same 0, 2, 7 is a subset in all but three of the vertical chords from measure and in all but one chord from measure The 0, 1, 3 subset is common to all but two vertical configurations from measure IC 1 continues as the initial interval in sixty-six percent of the sets from measure Subset 0, 1, 2, 7 (variant of the original 0, 2, 7 set) is common to all sets from measure 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. in forty-two percent of the vertical pitch class sets. It occurs The following table is an itemization of all Metamorphoses vertical sets and a tabulation of their number of occurrences (Figure 21).

46 36 Vertical Pitch Class Sets 0. 1, , 1, 3-8 0, 1, , 1, 5-9 0, 1, , 2, 4-4 0, 2, 5-7 0, 2, 6-7 0, 2, 7-9 0, 3, 6-3 0, 3, , 4, 8 3 0, 1, 2, 3-2 0, 1, 2, 4-2 0, 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, , 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, , 1, 2, 5, 6, , 1, 2, 6, 7, , 1, 2, 5, 7, , 1, 3, 4, 7, 8-1 0, 2, 3, 5, 6, 8-1 0, 1, 3, 5, 6, , 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.

A sequence is shown in Figure 22. Vni»ul ponlir aul pontic Cb.

47 37 Much 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 , sequence.

48 Figure 23 is a sequential pattern which moves from Viola I to Violin III. I Vni n m IV I IP'M) Vie II I Vc. II Cb. 1 e U Vni Vie 'ord Vc. JS1 dj mp Figure 23. Lutoslawski, Funeral Music, Metamorphoses, mm , sequence.

49 39 Inversion, sequence and retrograde inversion are shown in Figure 24. The exchange between instrumental groups is common. JOOj Vni UlelV Vie Vc. Cb. D lell JO 5. Vni Dl Vie Vc. Cb.

50 40 no] VlB IcE Cb. : / led Vie led / Figure 24. Lutoslawski, Funeral Music, Metamorphoses, nun , sequence with inversion.

41 A varied sequence is illustrated in Figure

51 41 A varied sequence is illustrated in Figure 25. The fourth statement is in retrograde and is also inverted. Vni in v ie n y*pesantf Jpesantt Vc. ptsantr Cb. fp esa n tr 125, Vni IB Vie II Vc. Cb. Figure 25. Lutoslawski, Funeral Music, Metamorphoses, mm , four-part sequence.

52 42 Aural 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 , repetition.

53 43 Unique 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 b Natural minor Violin II 177 bb Natural minor Violin I 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

Rhythmic variety is exemplified in the Metamorphoses by

Syncopation with accompanying off-beat accents is illustrated

54 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 , syncopation with off-beat accents.

55 Figure 28 is typical of the off-beat accents found in the Metamorphoses. 45 Vni Vc. Cb. // Figure 28. Lutoslawski, Funeral Music, Metamorphoses, mm , off-beat accents.

56 46 Hemiola 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. le ll j30j Vni Vie Vc. Cb /

47 y ptsantr Vni Vie Vc. Cb. / Figure 29. Lutoslawski, Funeral Music, Metamorphoses, mm. 127-134, hemiola.

(Meters of ^, 2* 2* and 2 occur in the Epilogue but ^ and ^ are found only in the last eight measures.

57 47 y ptsantr Vni Vie Vc. Cb. / Figure 29. Lutoslawski, Funeral Music, Metamorphoses, mm , 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 found only 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 3 meter, ^, 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.

measure 59 through 85 (see Figure 2 for pizzicato) and combinations of measured tremolo and glissando found in measures 232-233

I I I Violins I - IV Violas I - II I i Violoncelli I - II Contrabasses I - II Figure 30. range.

58 48 Timbre. Metamorphoses. Regular arco bowing is employed in most of the 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 (see Figure 3). Ranges for all members of a particular string instrument type are the same (Figure 30). I I I Violins I - IV Violas I - II I i Violoncelli I - II Contrabasses I - II Figure 30. range. Lutoslawski, Funeral Music, Metamorphoses, 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

49 textures predominating. measures (see Figure 2).

illustrated in Figure 31 below, occurs with more frequency.,120j Vm m Vc. Cb Figure 31.

The increase in successive density from quarter to eighth and sixteenth notes is first articulated in Violins I

59 49 textures predominating. measures (see Figure 2). Monophony occurs only in the opening six 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 , 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 assigned 1 2 to a particular instrument in both A and A.

twelve-note aggregate at its inception, employs a gradual reduction of pitches to a m2 dyad.

The three aggregates, arranged on either treble and bass clef staves or on just a bass clef staff, show the

60 50 Apogee Pitch. Each of the twelve chromatic pitches is assigned 1 2 to 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 8va V q I p A Composite a * Figure 32. Ludoslawski, Funeral Music, Apogee, aggregates.

Rhythm. The Apogee meter of ^ is unchanging.

Each of the three divisions is begun with a sustained chord and each is separated by a rest. All parts move together.

Section B employs six reductions in successive density.

61 Rhythm. The Apogee meter of ^ is unchanging. However, slight variations may exist becuase of the "molto appasionato, quasi rubato" 51 indication. Each of the three divisions is begun with a sustained chord and each is separated by a rest. All parts move together. 1 2 Sections 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 Violin II Violin III Violin IV I Viola I Viola II Cello I Cello II Contrabass I 33= V s Contrabass II 1 Figure 33. Lutoslawski, Funeral Music, Apogee, Instrument ranges.

62 52 Dynamics. Textureo The Apogee is sempre fff. 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 reflected 4 in 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)

63 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 Metamorphoses 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.) simultaneous density. Finally, there is a gradual increase in This is accomplished by the addition of instruments and is a by-product of the increased rhythmic activity.

64 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 instruments. 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.

65 55 Although 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 intervals 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

66 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.

67 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's r 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

68 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.

69 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 Instrument Violin I Violin II Viola Violoncello 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 Viola Violin I Violin II give the viola a signal the first violin will give you a sign before the beginning of the cue repeat only if the viola and cello 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

70 60 Tempo flexibility is also indicated at certain points in the score: mobile 14 mobile 4 Each performer should play his part as if he were alone. Changes of speed (acc. and rit.) generally relate to individual parts and should be so treated the wavy line suggests unequal distance between 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.

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

As shown in Figure 35 the wavy line suggests unequal distances between entries. The second basic structure may be expressed in terms of texture.

71 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 ltd 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.

72 62 A 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.

73 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 A B A Mobile: Introduction 1 2 3a Tempo: recitative slow fast, sporadic fast, intermittent Dynamic: variable soft medium loud soft Texture: monophonic imitative monophonic imitative x motive: C A D A 3b slow very soft very fast med. soft-very soft moderate (metered) very soft fast, intermittent very soft polyphonic imitative imitative imitative before and after after after

74 64 E 7 varied soft freely imitative after A 8 fast, intermittent long durations very soft imitative after F 9 slow accel. fast melody - varied accomp. - very soft melody with accomp. after D x motive Coda slow (metered), very soft mod. slow varied fast quasi loud slow-recitative very soft-varied freely imitative after imitative x motive 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: Figure 37. Lutoslawski, String Quartet, Main Movement, Overview.

75 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: Sub-section(s): Tempo (a), Dynamics (b), Unique Characteristics (c) Texture (d): a) very fast a) fast b) f«^>p, p ^ f b) loud (soft in 14) c) c) all aggregates. d) imitative assigned pitches d) imitative

76 a) slow (variety by bowing patterns), fast b) p<kf, f c) slides, repeated pitches form two tritones d) imitative a) VLN I recit VLN II, VLA, VC fast b) VLN I varied VLN II, VIA, VC very soft c) VLN II, VLA, VC each assigned two pitches d) melody with accomp. a) very fast b) VLN I p<ff>p, pp VLN II, VLA pp VC p<cff5=>p, pp c) increased presence of motive d) imitative a) VLN I,II slow a) VLN I, VC fast VLA,VC varied VLN II, VLA very b) VLN I,II cresc. b) VLN I, VC loud VLA, VC varied, final cresc. VLN II,, VLA pp<f c) paired texture c) paired texture d) double imitation d) double imitation 3 37 a) VLN I,II slow VLA, VC variable b) VLN I,II pcf (repeated) VLA, VC variable c) paired texture d) double imitation C (Dev.) a) VLN I slow VLN II, VLA, VC variable b) variable c) collage d) quasi imitative, polyphonic

77 a) moderate b) very loud c) motive x aggregate d) hocket a) variable, fast b) soft, very loud c) collage d) imitative/collage a) VLN I,II, VIA fast-slow alternation VC 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) a) variable, accel., slow a) slow presto, gradual ritard b) soft =-) b) loud, soft^ff, very loud. a) very slow c) siciliano char., all subito piano b) soft parts use same c) aggregate reduced to four c) scored pitches pitches d) chordal d) imitative d) imitative a) slow b) very soft c) made of VLA, d) imitation VC slides a) VLN slow VLN II fast, intermittent VLA, VC fast=v>slow a*) continued ritard b) VLN I quasi loud VLN II soft VLA, VC very, very soft b*) medium loud= >pp c) VLA, VC mirror d) imitative with VLN II support dl) x motive hocket

78 a) VLN I variable VLN II fast VLA repeated, fast intermittent b) VLN I soft, VLN II, VLA very soft c) collage d) polyphonic a) slow b) s o f t ^ > v e r y soft c) VLN I,II only descending slides d) 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 soft VC med sof t < ^ med loud c) three parts imitative, one independent d) solo, with accompaniment Figure 38. Lutoslawski, String Quartet, Main Movement, Form. Overall, the Main Movement appears to be one of continuous development. Many of the mobiles employ the same intervals (minor second, tritone, aggregate), textures (imitative, melody with accompaniment, collage of unrelated materials) and duration patterns (written out accelerandos and ritardandos) but no group of parameters, including pitch, rhythm, timbre or intensity, ever returns in exactly the same (or in a slightly modified) pattern. X Motive The x motive described earlier as repeated octaves of pitch class c unifies the Introductory Movement because of its frequent

a five second pause, it delineates a diverse polyphonic texture

79 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, Introductory Movement, 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_.

according to its placement except for mobile twelve which is made exclusively of motive x. ",". : : o : ~ o O : - / : : z : - - - O _ o.

80 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 : ~ o O : - / : : z : O _ o. - = * Octave Mobile Ordering of pitch class c octaves as they occur in motive x X X X X X X X Figure 40. Lutoslawski, String Quartet, Introductory Movement, 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.

The Introductory Movement includes two instances of x motive transformation. The first is found in the introductory mobile for Violin I (Figure 41).

Lutoslawski, String Quartet, Introductory Movement, Transformed x motive. The second instance is at the conclusion of the movement.

81 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 transformation. 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).

In the Main Movement mobiles fourteen through twenty-three offer many good examples of x motive transformation.

Again, the high-low alternation resembles the x motive.

82 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 intermediate 2 y/i pitch (c ) is interpolated between the alternating low-high f 2 g, each of which is further emphasized by the inclusion of an and 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.

Transformed x motives are illustrated in mobile thirty-six in both Violin I and Violoncello against the background of

A transformed x motive is included in one of the collage mobiles (mobile thirty-eight).

83 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).

Mobile thirty-nine illustrates two x motive transformations. The c s are no longer used.

Their positioning and rhythmic placement provide the low-high alternation characteristic of motive x (Figure 45).

84 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). vno I vno II pui ca r cm V via V C. ca I'- ca I" ca r 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.

85 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 I Hi. vno II V via via V C. Hi. ex ; peuxa llcxp e*t od tale) Figure 46.

They create unity within individual mobiles and on occasion serve as connecting

86 76 vno I Hi. vno II V 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.

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

87 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.

88 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 Violin II Viola f f^ g^ a c c# d a# b c# b d f a Violoncello 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

89 a complete aggregate9 gradually reduces its complement to include only 79 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 instruments. 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. aggregate. Its second half is begun with a wide-spread twelve-note 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.

90 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).

Mobiles twenty-four through twenty-eight all cadence on four pitches related by both tritone and

vno I U t fu n k e d begin [21] (ID vno II.. ------------.

91 81 i a Figure 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 via I) [Ml remem s p*er f > mkrmgp [111 ugetker ek k Ike 1* rlolln V C. r e e g m ekngpku m Ike 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.

In the following illustration, tritones are enclosed in boxes; minor seconds are connected by lines (Figure 52).

The initial pitches for Violin I consist of those which form two tritones and are related by minor second (Figure 53). Figure 53.

92 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 relationship. In the following illustration, tritones are enclosed in boxes; minor seconds are connected by lines (Figure 52). Violin II C Viola Violoncello 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).

second in its chord spelling (Figure 54). IB E I V o Violin I Violin II Viola Violoncello Figure 54.

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

93 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 o Violin 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). ^ i Figure 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 via VC. bafte erfth ike cello rr - rrr rf~h rrr rr = rrr m^rnjo rr rrrew n W o Figure 56. Lutoslawski, String Quartet, Main Movement, mobile 46, tritone arrangement.

A study of these chords reveals that eighty percent contain a semitone.

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.

94 84 via VC. bafte erfth ike cello rr - rrr rf~h rrr rr = rrr m^rnjo rr rrrew 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 semitone. 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.

certain number of a specific duration could be executed (Figure 58). Introduction-Mobile 1 ca 5 J^/sec.

Mobile 5 metered Mobile 5 (x motive) - 9 Tempo I Mobile 10-11 metered Mobile 12-13 ca 5 /sec.

95 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 metered Mobile ca 5 /sec. Mobile ca 7 f /sec. Mobile 42 Presto ca 10 ^ /sec. Mobile no tempo indicated but slow because of the fermata whole notes. Mobile Funebre ca 5 J^/sec. Mobile ^ / s e c. 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.

Only a few mobiles have textural rhythms which do not include sixteenth and thirty second notes.

The inclusion of a myriad of rests exerts a considerable influence as well.

96 86 Innumerable tempo nuances are marked throughout each part. In mobiles which require a certain ensemble relationship, written-in musical cues are standard. Other visual and musical cues necessary for "ensemble" within this aleatory context have been cited (see pp ). The most common values in the Quartet are sixteenth and thirty second notes. Only a few mobiles have textural rhythms which do not include sixteenth and thirty second notes. Fermatas over a value of rest and fermatas over which has been placed a duration of time are common methods by which the flow of these faster note values can be abated. The inclusion of a myriad of rests exerts a considerable influence as well. Another important rhythmic element includes a gradual increase or decrease in the length of note values, rests or fermata values. The first example illustrates how the length of fermatas may be increased (Figure 59). P R E S T O (ca 10 J/*ec.) *mwc*koiu*mle por unlit) I be bowing above e a l- da) aggnal loaym, te akodciylei give ibe otberaa you have finished Figure 59. Lutoslawski, String Quartet, Main Movement, Violin I, mobile 42, variable length fermatas.

The beginning of mobile seven illustrates this same principle as applied to note values.

Instances similar to the above are found throughout both movements.

97 The beginning of mobile seven illustrates this same principle as applied to note values. Violin I and Violin II parts have been chosen for this example (Figure 60). vno I vno II via Hi Figure 60. Lutoslawski, String Quartet, Introductory Movement, mobile 7, gradated note values. Instances similar to the above are found throughout both movements. Another form of rhythmic gradation found only in the Main Movement pertains to bowing patterns over a glissando. Figure 61 includes three examples of this form of rhythmic gradation; it is not unique.

88 m h i) vno I efecp *o4ci* u cxal) [M) I tanytn t evrrfoee hes llelsbed.

Lutoslawski, String Quartet, Main Movement, mobile 25, duration gradation in bowing patterns. Timbre.

Not only do they play an important role in the delineation of form but they also highlight contrasts within mobiles,

98 88 m h i) vno I efecp *o4ci* u cxal) [M) I tanytn t evrrfoee hes llelsbed. begin 1S6J together v ttb the t* h rn vno II :r eiib the 1st V C. >1) (Ml Mem Ik Figure 61. Lutoslawski, String Quartet, Main Movement, mobile 25, duration gradation in bowing patterns. Timbre. Instrumental sounds and effects are used extensively in the String Quartet. Not only do they play an important role in the delineation of form but they also highlight contrasts within mobiles, between adjacent mobiles and between groups of mobiles. Con sordino. Con sordino complements the introductory nature of the opening violin statement and mobile one. Violin I employs motives similar to those in the introduction in mobile forty-eight.

99 89 Con sordino is again employed; its return is initiated in this latter mobile by a three-note Violin II pattern, also con sordino. The only instrument not employing con sordino from mobile forty-eight to the end of the Quartet is the Violoncello, Its position at the end of mobile fifty-one as the solo line is similar to the close of the Introductory Movement; con sordino in the remaining instruments allows the Violoncello to be easily heard. One of the three upper strings finishes the movement and thus brings back the con sordino of the introduction. Which one of the three is never known because of the aleatory factor. Non vibrato. Non vibrato is associated with notes of longer durations and is normally found following a release from previous tension or heightened activity. Its first appearance is shortly before the conclusion of the introductory statement for solo violin. An important instance of non vibrato is found in mobiles forty-three and forty-four following the most climactic mobile of the Quartet. The non vibrato "indifferent" indication helps emphasize the release of tension. Pizzicato. Pizzicato is employed in the first normally scored mobile (mobile five). It does not appear elsewhere in the Introductory Movement with any degree of regularity except in the three upper strings of mobile thirteen. In this capacity it allows the solo Violoncello line to be heard much like the effect of con sordino at the end of the Main Movement.

90 Pizzicato is first used in the Main Movement as an integral part of mobiles fourteen through twenty-three.

Pizzicato is also used to identify fragments within mobiles, as in mobile thirty-eight which pairs pizzicato with those fragments employing rhythmic gradation.

Pizzicato on a single note followed by a glissando fulfills the same function in mobile fifty (Figure 62). F ccf Figure 62.

100 90 Pizzicato is first used in the Main Movement as an integral part of mobiles fourteen through twenty-three. In mobile thirty- five pizzicato in the two lower strings helps delineate the first instance of split texture. Pizzicato is also used to identify fragments within mobiles, as in mobile thirty-eight which pairs pizzicato with those fragments employing rhythmic gradation. Pizzicato chords are used to signal the beginning of new mobiles. This is exemplified in mobiles thirty-seven and thirty- eight by the Violoncello. Pizzicato on a single note followed by a glissando fulfills the same function in mobile fifty (Figure 62). F ccf Figure 62. Lutoslawski, String Quartet, Main Movement, mobile 50, pizzicato used to delineate mobiles. Pizzicato is used to help contrast the character of two adjacent mobiles. The dark, sombre mood of mobiles forty-five and forty-six (sub-titled Funebre) is immediately contrasted by the fast ppp pizzicato of the Viola and Violoncello in mobile forty-seven. The last primary use of pizzicato is to delineate the Violoncello solo line in mobile fifty-one. Other uses of pizzicato are strictly for momentary color and do not contribute to the identity of a particular mobile or group of mobiles.

101 91 Sul ponticello. Sul ponticello provides unity and contrast in mobiles twenty-nine through thirty-four of the Main Movement. Initially? it is used exclusively in mobiles twenty-nine through thirty-one in the three lower instruments to provide freedom for the more soloistic first Violin. Later, mobiles thirty-two through thirty-four employ a gradual replacement of sul ponticello by short scalar motives in regular bowing. Single repeated pitches in mobiles forty-seven (Violin II) and forty-eight (Viola) are the only other examples of sul ponticello in the Quartet. Glissandi. Glissandi are also found only in the Main Movement. They create unity by being an essential part of mobiles twenty-four through thirty-one (see Figure 51). Later, as mobiles become more diverse, glissandi are used to identify certain recurring fragments within two or more parts. The longest glissandi are reserved for the most climactic mobile of the Quartet (mobile forty-two). Viola and Violoncello parts have been chosen to illustrate this instance (Figure 63).

Lutoslawski, String Quartet, Main Movement, mobile 42, extended glissandi at climax.

102 92 PKESTO (c* loi/acc.) lytmkowwut pof my**l ca 2" n ca 3" n ca <" c a T poiulinej at do»u@ni icteluiu. po cjpni pru repeal 10 lbe cello' a» P R E S T O (cm 10^/»ec.) r if i i H M M M ; :n ; fllji see ibc bowing above (* * ij p Figure 63. Lutoslawski, String Quartet, Main Movement, mobile 42, extended glissandi at climax. Other uses of glissandi are found in the Funebre mobiles (forty-five, forty-six) and in the repeated pitches of Violin I in mobile forty-nine (Figure 64). vno I Figure 64. Lutoslawski, String Quartet, Main Movement, mobile 49, glissandi on a repeated pitch.

103 93 Dynamicso Dynamics is one of the least utilized parameters in the delineation of form within the Introductory Movement because the overall level is. soft. Only during solo mobiles (including the introduction) and mobiles which have a clearly defined solo part does the dynamic level rise above mezzo forte. Dynamics are used to establish both intra- and inter-mobile identity in the Main Movement. The more diverse mobiles found in the latter part of the movement use dynamics to unify particular fragments found in different parts. Earlier, whole blocks of mobiles retain one dynamic throughout. The climax of the Quartet (mobile forty-two) reaches the highest dynamic (fff) and is made even more effective by the subito piano which follows immediately and is retained until the end. Texture. Only a few mobiles in the Introductory Movement do not have an imitative texture, the result of all instruments sharing similar pitch, rhythmic, timbral and dynamic elements. The exceptions are the introduction, mobile two and the end of mobile thirteen (solo instruments), the last part of mobile three (independent poloyphony) and mobiles nine and thirteen (homophony). An example of the homophony found in mobile nine is given in Figure 65. the Viola acts as a drone accompaniment to the Violoncello. Here Its very soft dynamic and exchange of long-short durations is a strong contrast to the variety of dynamics and rhythmic patterns illustrated by the Violoncello.

104 94 Figure 65. Lutoslawski, String Quartet, Introductory movement, mobile 9, drone accompaniment of Violoncello solo. The only other texture found in the Introductory Movement is the "quasi hocket" of mobile twelve. This is an extended x motive which encompasses the entire mobile rather than assuming its normal function as a transitory element between two adjacent mobiles (Figure 66). vno I nv ft vno II n V CM 3" via vc. Figure 66. Lutoslawski, String Quartet, Introductory Movement, mobile 12, x motive as a "quasi hocket" texture.

105 95 An analysis of pitch, rhythm, timbre and dynamics in mobiles of the Main Movement has shown them to be coordinating factors in the identity of certain groups of mobiles. Textural analysis of individual mobiles reveals a variety of types ranging from imitation in which all parts share one pitch pattern, one rhythmic pattern, one timbral effect and one dynamic (or pattern of dynamics) to a diverse kind of collage in which parts share facets of pitch and duration taken from different mobiles of the Introductory Movement, Other textures found in the Main Movement exhibit pairing of instruments, melody with accompaniment and chordal arrangements. The textural organization of the Introductory and Main Movements is included in the formal diagrams (Figures 36 and 38), Larger Formal Concerns The mobiles of the Introductory Movement provide a nucleus of materials to be expanded and transformed in the Main Movement. Each of four parameters (pitch, duration, timbre and intensity) along with textures resulting from their interaction contribute to an understanding of larger formal concerns. Pitch, Aggregates, both those which allow a sharing of pitches and those which assign each of the twelve notes to specific instruments, create unity by their recurrence in both the Introductory and Main Movements, Intervals, especially the tritone and minor second, share equally in the responsibility of creating unity by their return.

106 96 The x motive? firmly established in the Introductory Movement by its rondo-like return is transformed in the Main Movement by the use of different pitches and durational values. By its reappearance, in a variety of guises, unity is preserved. Rhythm, Rhythmic gradation is present but does not play an important role in establishing the identity of particular mobiles in the Introductory Movement, Its use in the Main Movement, however, is greatly expanded. Whole sections of mobiles include this rhythmic device as an important means of creating unity. The use of sixteenth and thirty-second notes is extensive in both movements. In each, variety is achieved by different degrees of rhythmic continuity. Some mobiles employ a motivic treatment with the inclusion of many rests and fermatas; other exercise the near exclusion of rests and fermatas. Timbre. Con sordino occurs in both the beginning and ending mobiles of the Quartet Its return provides a unique balance of color. Non vibrato is found in earlier mobiles but the only ones which can include this effect as being critical to their identity appear late in the Quartet (mobiles forty-three and forty-four). Pizzicato is used sparingly in the Introductory Movement appearing nowhere except in mobile five. In the Main Movement it works in conjunction with twelve-note aggregates in establishing the identity of a larger group of mobiles (mobiles fourteen through twenty-three); elsewhere in the Main Movement it is used to delineate intra-mobile fragments. Sul ponticello, found only.in the Main

107 97 Movements helps create unity in mobiles twenty-nine through thirty- one and in mobiles thirty-two through thirty-four, Glissandi are also important in establishing the identity of mobiles twenty-nine through thirty-one. They perform the same function in mobiles twenty-four through twenty-eight and in mobiles t forty-five and forty-six. The importance of this effect in single mobiles is seen at the height of the climax in mobile forty-two and in the collage mobiles, i.e. mobile thirty-eight, as well. Dynamics. Dynamic levels are not an effective means of delineating larger formal concerns in the Introductory Movement because the dynamic level is relatively soft throughout. The Main Movement maintains a relatively high dynamic profile until after the climax in mobile forty-two. The immediate contrast to a lower level from the end of mobile forty-two to the conclusion of the Quartet creates two large sections of dynamics in the Main Movement. Texture. Divergent textures are created in the Introductory Movement. Most important to the delineation of form is the continued return of imitation and the recurrance of the "quasi" hoeket x motive. Four large divisions can be articulated from the different textures found in the Main Movement. These four divisions represent an increase (divisions^ one through three) and subsequent decrease (division four) in complexity. The first division (mobiles thirteen through thirty-four) continues the imitation established in the Introductory Movement with some modification created by homophony in mobiles twenty-nine through thirty-one.

108 The second division (mobiles thirty-five through forty-two) allows fragments from earlier mobiles to interact in an exchange among the four parts. The resultant "collage effect represents the most complex texture of the Quartet. The final division (mobiles forty-three through fifty-one) is created by a return to imitation (with modifications). "Modification includes reminders of the collage effect, quasihocket 9 and melody with accompaniment along with the addition of a new chordal texture. A strict recapitulation to imitation does not exist. Summary The String Quartet does not follow regular scoring procedures. The setting of parts is done with the understanding that each performance will necessarily be different due to the aleatory nature of the Quartet. Complete freedom of performance, however, is not allowed. Each player is made aware of his position by certain aural and visual cues and must respond according to printed directions. The work is divided into two sections, the Introductory and Main Movements. Each movement is organized around a series of self-contained units referred to by the composer as mobiles. The movement from one mobile to the next is dependent on the aforementioned cues. The Introductory Movement is centered around imitative mobiles and x motives. The x motives create strong divisions in

109 99 the Introductory Movement as they occur between adjacent mobiles of diverse texture. The Main Movement is also concerned with imitative mobiles and x motives which undergo transformation. Both are adaptations borrowed from the introductory Movement. An expanded use of imitation is seen in the Main Movement as well as other representative textures. Among these are monophony, homophony and a collage of different fragments from earlier mobiles. Pitch aspects are shared between the two movements. particular importance are recurring twelve-note aggregates. Of Some mobiles employ these aggregates as fixed pitches for particular instruments; others allow a freer adaptation of instrumentation. Specific intervals, the tritone and minor second, also play an important role in many mobiles from both movements. The same rhythmic concerns are not always found in both movements. The use of assigned meters is limited to mobiles five, ten and eleven, all from the Introductory Movement. The tempo of other mobiles in both movements is determined by a given time duration within which a specified number of notes of a particular duration may be executed. Rhythmic gradation is included in the Introductory Movement but its use is greatly expanded in the Main Movement where gradation is seen in notes, rests, length of fermatas and bowing patterns over glissandi. Both movements employ an extensive use of timbral effects. Included among these are con sordino, non vibrato, pizzicato, sul ponticello and glissandi. These effects are used for momentary

110 100 color and/or to create unity among fragments9 mobiles or larger groups of mobileso Dynamic levels do not play an active role in the delineation of form in the Introductory Movement because the dynamic is soft throughout. They do, however, create unity and contrast in the Main Movement. Of particular interest is the extremely soft ending found in the three upper strings and the overall soft closing section of the Quartet.

111 CHAPTER IV CONCLUSIONS The Funeral Music for String Orchestra and the String Quartet each represent a new direction in the music of Witold Lutoslawski. The Funeral Music is the first of his experiments in dodecaphonic composition; similarly? the String Quartet is the first of his works to explore the vast world of aleatory, or chance, music. Ironically, the Funeral Music is not entirely a row composition nor is every facet of the String Quartet decided on by chance. Rather, the particular twelve-note row (see Figure 1) is only applicable to the first and last divisions of the Funeral Music, the Prologue and the Epilogue, and there are a few instances in the Quartet that are scored normally and have a reasonable chance of sounding alike on repeated occasions. Both works have separately named longer divisions, i.e., the Prologue, Metamorphoses, Apogee and Epilogue of the Funeral Music and the Introductory and Main Movements of the Quartet. Though each work contains sectional divisions, both are performed without pause between divisions. "Attaca" connects the two movements of the Quartet and the first two divisions of the Funeral Music. Continuous sound between the Metamorphoses and Apogee and between the Apogee and Epilogue makes even "attaca" unnecessary. 101

112 102 Both works are for stringed instruments» This medium is not new to Lutoslawski nor is it one that he has abandoned since the Quartet; the Overture for Strings (1949) came nine years before the Funeral Music and the Preludes and Fugues for thirteen solo strings was written in 1971, seven years after the Quartet. As one might expect the Quartet is more adventuresome with regard to string writing than is the Funeral Music which was written for a much larger ensemble. Even in the sections of the Funeral Music written for solo strings, one on a part, durational and timbral concerns are much less complex. As suggested in the Introduction, the purpose of this paper is to discover aspects of pitch, rhythm, timbre, intensity and texture which create form, by either their recurrence or contrasting nature, in both the Funeral Music and String Quartet. Analysis has shown certain properties in each of the above categories to be operative in both works; attention will now be directed to a summary of these findings. Pitch. A short recurring pattern, very limited in pitch content, is used in both works to provide contrast to an otherwise thick, multi-voiced texture. This pattern in the Funeral Music is a tritone dyad (f - b) and in the String Quartet is a simple alternation of low and high statements of pitch class c which undergoes considerable transformation (see Figures 17 and 39 as representative illustrations). The recurrence of the dyad is not used throughout the Funeral Music but rather is limited to the first and last

113 103 divisions; the x motive with its transformations is found in both large divisions of the String Quartet. Important to the structure of the String Quartet is the use of tritones built from a variety of pitches. Likewise, the entries of all subsequent canonic voices in the Funeral Music are at the tritone. Another interval equally important to both works is the minor second. One of its main functions in the Funeral Music is to alternate with the tritone in the formation of the row used in the Prologue and Epilogue canons. This same kind of alternation is shown in the introductory segment for solo Violin in the String Quartet; this segment contains only tritones and minor seconds. The third division of the Funeral Music, the Apogee, exhibits an almost total pitch dependence on twelve-note aggregates. Indeed, its first two sections maintain complete aggregates in all but a very few instances; the last section employs a gradual reduction of aggregate pitches to its concluding minor second. Many mobiles of the String Quartet are based on aggregates. Often the pitches are assigned in groups of three to each instrument for an entire mobile; in other instances, pitches are not fixed and move freely among members of the ensemble but there is a strict avoidance of pitch class c, the twelfth member, until the use of the x motive. Duration. Duration plays an integral part in the shaping of the Funeral Music. The Prologue and Epilogue employ mostly long durations; both canons and dyad structures are limited to a

114 104 particular selection of these durations." In a decidedly different manner the Metamorphoses is dependent upon a gradual increase in successive density to determine its overall shape. This gradation moves from irregularly spaced quarter notes with interpolated rests to regularly occuring sixteenth notes. Likewise, rhythmic gradation is the basis on which the Apogee is formed. It maintains a peak of activity in its first two segments, each of which begins with long durations followed by increasingly shorter ones, thus creating an internal acceleration. This peak is soon reduced in the third segment by a gradual ritardando facilitated by using increasingly longer durations. An overall view of rhythmic organization illustrates the balance which this parameter provides to the Funeral Music (Figure 67). Prologue Metamorphoses Apogee Epilogue stable increase decrease stable Figure 67. Lutoslawski, Funeral Music, duration as it relates to overall form. Similarly, rhythmic gradation plays an important role in the String Quartet. Many mobiles employ increasingly shorter or longer durations with regard to notes, rests and sometimes fermatas. At times, only one instrument will exercise this technique (as in mobiles twenty-nine through thirty-one) to establish its soloistic role against a more regular rhythmic background of the other members ' <.. of the quartet.

115 105 The rhythmic relationships exercised among the various instrumental groups in the Funeral Music provides an example of imitation. Rhythmic imitation is also operative in the String Quartet in a decided way; the integrity of many of the mobiles in the Introductory Movement is dependent on a similar rhythmic pattern being found in all parts. The Main Movement also illustrates this rhythmic imitation as it pairs instruments in groups of twos (mobiles thirty-five through thirty-seven) or distributes a set or group of rhythmic patterns taken from different Introductory Movement mobiles into collage-like patterns. This latter culminating effect is found particularly near the climax of the Quartet, most explicitly in mobiles thirty-eight through forty-two. Not to be forgotten are those early and late mobiles of the Main Movement which are treated in much the same manner (one imitative pattern for all instruments) as seen in the Introductory Movement. Overall the imitative aspect of duration creates form in the String Quartet much like rhythmic gradation is able to do in the Funeral Music (Figure 68). mobiles 1-34 mobiles mobiles mobiles simple more complex most complex simple Figure 68. Lutoslawski, it relates to overall String Quartet, imitation as form. Timbre. There is a decided difference in the use of timbral effects in these two works. Their very absence in parts of the Funeral Music is important; nowhere in either the Prologue or

116 106 Epilogue is there anything but straight arco bowing. The only distinguishing type of articulation is in the dyad sections which employ single strokes, each of which is accented. The alternation between soli and tutti groups is yet another timbral difference; it is employed only in the Prologue and Epilogue of the Funeral Music and is not found in the String Quartet at all. The most similar of the Funeral Music divisions to the timbral effects of of the String Quartet is the Metamorphoses but its use of sul ponticello and pizzicato is limited and does not affect larger formal concerns. Nowhere in the Funeral Music is there the use of timbral effects, other than the solo-tutti alternation, to establish larger divisions as found in the String Quartet. Here, whole sections of mobiles employ a single device, i.e. glissandi (with or without bowing patterns) and sul ponticello. Single mobiles employ a particular technique, i.e. pizzicato, to establish their own identity while others employ a variety of effects to help distinguish motives borrowed from earlier mobiles. Intensity. Intensity is an important factor in the delineation of form in both the Funeral Music and String Quartet.. In the Funeral Music the same intensity level is usually retained for the entire ensemble; contrapuntal dynamics are employed to some extent in the Metamorphoses but even in this longest of divisions an overall dynamic increase predominates. The most climactic of mobiles (number forty- two) and the most climactic of divisions (Apogee) reach the highest intensity level (fff) in their respective works. Similarly, the

117 107 conclusions of both the Funeral Music and the String Quartet illustrate a dramatic lessening of intensity allowing both works a rather introspective, soft endinge Textureo Textural properties are also an important form delineating technique in both compositions. The number of voices constituting the various canons of the Prologue and Epilogue determine their texture; generally this is shown to be a matter of increase in the first instance resulting in a progressively thicker texture and the opposite, or a decrease in the number of voices with a corresponding progressively thinner texture, is true in the latter case. The increased rhythmic complexities of the Metamorphoses create its progressively thicker texture which is continued through the opening of the Apogee before its eventual decline. The String Quartet is organized in a different manner. It moves from a single textural control (imitative) to a more complex system (paired imitation) and finally to an arrangement of many diverse fragments within a single mobile (collage) before returning to a more simplified imitative texture in its last section. Although both works include some instances of melody with accompaniment and monophony, the main textural control is by imitation. Finally, it has been shown that the four parameters (pitch, duration, timbre and intensity) and their resultant textures do delineate form in both the Funeral Music and String Quartet and that certain elements from each of the above parameters are utilized in a similar manner in both works.

SELECTED BIBLIOGRAPHY Cowie, Edward. "Mobiles of Sound." Music and Musicians 20 (1971): 34-36. Heyworth, Peter. "A Thorn Grows in Warsaw." Hi Fi (1965) : 60-65. Jarocinski, Stefan.

Philips 6500 628. Lutoslawski, Witold. Musique Funebre. Warsaw: Polskie Wydawnictwo Muzyczne, 1958. Lutoslawski, Witold. "Reflections on the Future of Music." Polish Music 7 (1972): 3-6.

"Contemporary Polish Composers." Polish Music 8 (1973): 4-17. Nordwall, Ove, ed. Lutoslawski. Stockholm: Wilhelm Hansen, 1968. Prieberg, Fred. "Poland's Musical Life Today.

118 SELECTED BIBLIOGRAPHY Cowie, Edward. "Mobiles of Sound." Music and Musicians 20 (1971): Heyworth, Peter. "A Thorn Grows in Warsaw." Hi Fi (1965) : Jarocinski, Stefan. "Polish Music after World War II." Musical Quarterly 51 (1965): Lutoslawski, Witold. "Doctoral Speech." Polish Music 8 (1973): Lutoslawski, Witold. "Funeral Music" (et al.). Orchestra Symphonique de la Philharmonic Nationale de Varsovie, conducted by Witold Rowicki. Philips Lutoslawski, Witold. Musique Funebre. Warsaw: Polskie Wydawnictwo Muzyczne, Lutoslawski, Witold. "Reflections on the Future of Music." Polish Music 7 (1972): 3-6. Lutoslawski, Witold. "String Quartet" (et al.). La Salle Quartet. Deutsche Grammophon Lutoslawski, Witold. String Quartet. Warsaw: Polskie Wydawnictwo Muzyczne, Marek, Tadeusz. "Contemporary Polish Composers." Polish Music 8 (1973): Nordwall, Ove, ed. Lutoslawski. Stockholm: Wilhelm Hansen, Prieberg, Fred. "Poland's Musical Life Today." Musical America (1959): 29-30, 132. Selleck, John. "Pitch and Duration as Textural Elements in Lutoslawski' String Quartet-Introductory Movement." Perspectives of New Music 13 (1975): Slonimsky, Nicolas. Baker's Biographical Dictionary of Musicians. 6th ed. New York: Shirmer Books, Stucky, Steven E. "Part I: Kenningar (Symphony No. 4). Original Composition. Part II: The Music of Witold Lutoslawski: A Style-Critical Survey.", D.M.A., Cornell University, Varga, Balint Andras. Lutoslawski Profile. London: J. & W. Chester, 1976.

119

Syllabus List. Beaming. Cadences. Chords. Report selections. ( Syllabus: AP* Music Theory ) Acoustic Grand Piano. Acoustic Snare. Metronome beat sound

Syllabus List. Beaming. Cadences. Chords. Report selections. ( Syllabus: AP* Music Theory ) Acoustic Grand Piano. Acoustic Snare. Metronome beat sound Report selections Syllabus List Syllabus: AP* Music Theory SYLLABUS AP* Music Theory AP is a registered trademark of the College Board, which was not involved in the production of, and does not endorse,