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LSU Historical Dissertations and Theses Graduate School

1996

An Analysis on the "First String Quartet" ofKrzystof Penderecki and an Original Composition,Symphony II.Mikel Andrew LedeeLouisiana State University and Agricultural & Mechanical College

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AN ANALYSIS ON THE FIRST STRING QUARTET OF KRZYSTOF PENDERECKI

ANDAN ORIGINAL COMPOSITION

SYMPHONY II

A DissertationSubmitted to the Graduate Faculty of the

Louisiana State University and Agricultural and Mechnaicl College

in partial fulfillment of the requirements for the degree of

Doctor of Musical Artsin

The School of Music

byMikel Andrew LeDee

B.A., University of Southwestern Louisiana, 1983 M.M., Louisiana State University, 1987

May 1996

UMI Number: 9637785

UMI Microform 9637785 Copyright 1996, by UMI Company. All rights reserved.

This microform edition is protected against unauthorized copying under Title 17, United States Code.

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TABLE OF CONTENTS

ABSTRACT ............................................... iiiPART I. AN ANALYSIS ON THE FIRST STRING QUARTET

OF KRZYSTOF PENDERECKI .................. 1CHAPTER

1 INTRODUCTION AND BACKGROUND ................ 12 COMPOSITIONAL ANALYSIS . . . 7

RHYTHM ....................................... 73 PITCH ......................................... 214 FORM ......................................... 295 SUMMARY AND CONCLUSION ...................... 40

BIBLIOGRAPHY ........................................... 45APPENDIXES

A RHYTHMIC CHARTS ............................ 47B QUARTET PITCH REDUCTION ................... 50

PART II. AN ORIGINAL COMPOSITION, SYMPHONY II ____ 561 SYMPHONY II .................................. 56

VITA .................................................... 153

ii

ABSTRACTWhat immediately comes to mind when looking at the

First String Quartet (1960) of Kryzstof Penderecki is his creative method of notation and captivating visual aspect of the score. The composer introduces effective and unusual sounds which require new performance techniques. In addition to these devices he places the composition in a non-metered notation which gives the work an indeterminate aspect. All of these mechanisms sometimes overshadow the more detailed information of the work. However, when listening to this composition certain organizational aspects present themselves in the foreground. Intimate study of the work will reveal the importance of rhythm, pitch organization and formal considerations. In general, studying this piece will provide insight into Penderecki's compositional development.

The second part of the dissertation is an original composition, by the author, titled Symphony II. It is comprised of three separate movements, roughly ten minutes each. This work combines a variety of techniques, ranging from clusters, polychords, instrumental color effects, the whole tone scale, hints of tonality, chromatic passages,

tertian applications, a quotation, the use of repetition, and various rhythmic aspects.

The first and third movements are in ternary form and the opening ideas of both movements are stated and developed in the cello and double bass. A solo violin is introduced and appears three times during the course of the first movement. This solo violin returns and appears twice in the third movement. The similarities between the first and third movements create a cycle, thus giving the entire piece an arch form.

The second movement is based on a theme proposed by Frederick the Great of Prussia, on which Johann Sebastian Bach improvised when he was visiting Potsdam in 1747.

iv

PART I

AN ANALYSIS ON THE FIRST STRING QUARTET OF KRZYSTOF PENDERECKI

CHAPTER 1 Introduction and Background

Krzystof Penderecki is a name that is easily recognized in the world of contemporary music. He is known for his innovative use of traditional instruments in a non-traditional fashion. This technique is not used for the sake of novelty, but is representative of the composers style. New sounds are created by traditional instruments. Also, the development of cluster oriented compositions, the use of microtones, and new notational devices, while maintaining a traditional form, are part of the composers arsenal. Penderecki has developed an immediately accessible musical language based on a dramatic and coloristic use of blocks, masses and planes of sound, which quickly established him as one of the most influential figures

iof the European avant-garde.

1Kryzstof Penderecki, Sixtieth Birthday Gala Concert, Sinfonia Varsovia, Warsaw National Philharmonic Choir,Sony Classical, DIDC 072338.

1

2

Born in Debica, Poland in 1933, Pendereciki's musical training began in early childhood with studies of piano and violin. He later continued his work on violin at the Krakow Conservatory (1951). While enrolled at the Conservatory he began compositional studies with Franciszek Skolyszewski. In 1954 he entered the State Academy of Music in Krakow to pursue composition as a career. While there he studied composition with Artur Malawski and Stanislaw Wiechowicz. Penderecki completed his work at this institution in 1958. He was than appointed to the State Academy of Music in Krakow as professor of composition and counterpoint. During this period he also lectured at the Krakow Theological Seminary and was correspondent for a magazine. In 1959 he entered three works in the Second Competition for Young Composers in Warsaw and won the top three prizes. These victories merited him a great amount of recognition and are but a few of Penderecki's many triumphs in the world of composition.

The year 1960 was very productive for Krzystof Penderecki. In that year he composed Anaklasis, Threnody for the Victims of Hiroshima, Dimensions of Time and Silence and the First String Quartet. The First String Quartet was a poignant development in the chamber music of the composer. In this work he explores a new world of sound which is sometimes referred to as the noise world.

3

Pendrecki cultivated the artistic alienation of traditionalinstrumental sounds, and replaced them by new playingtechniques for (relatively) old instruments. Everythinghitherto demanded of a massed string orchestra inEmanations, Threnody and Anaklasis is demanded of the four

2soloists who constitute a string quartet. According to Ray Robinson, the author of Krzystof Penderecki, A Guide To His Works, this early period of composition can be defined by the use of certain techniques. These techniques are listed below.

New instrumental and vocal timbres Free serialism Time space notationSemi-tonal clusters for sound density New timbers from stringed instruments Quarter and three-quarter tones Broad bands of soundString glissandi in clusters moving in opposite

directions simultaneously String sounds: close to the bridge

behind the bridge under the strings ,on the wood of the instrument

2Wolfram Schwinger, Krzystof Penderecki His Life And Work Encounters, Biography And Musical Commentary, trans. William Mann (London: Schott & Co. Ltd., 1989), 128.

3Ray Robinson, Kryzstof Penderecki: A Guide To His Works (New Jresey: Prestige Publications, 1983), 5.

4

Free serialism means free use of the serial concept(i.e. eleven-note rows), as well as continual development

4of new rows rather than clinging to a single series.Robinson also mentions the term farbmusic, which means

color music, when speaking of Penderecki's early compositions. The term farbmusic or color music is a just description of the quartet. The piece is best described as organized sound. Sound in this sense includes both discernible pitches and noise. Wolfram Schwinger states that as a structural whole Penderecki's First Quartet proceeds form rapid short repetitions of sound-structures arithmetically ordered through chordal play to quietly fading sustained notes, enriched by harmonics and

5glissandos, interrupted by gatecrashing thumps and thuds. Schwinger also mentions that the quartet has nothing in common with post-Webern serial technique. Perhaps this quartet could be seen as a response to the highly complex nature of the post-Webern serial technique. The controlled freedom given to the performers could be seen as a reaction against the strict confines of the post-Webern serialism.

4David H. Cope, New Direction In Music (Dubuque, Iowa: WM. C. Brown Publishers, 1989), 76.

5Wolfram Schwinger, Krzystof Penderec His Life And Work Encounters, Biography And Musical Commentary, trans. William Mann (London: Schott & Co. Ltd., 1989), 130.

5

When listening to the work a variety of color effects are heard. The piece opens with percussive effects, occasionally accented, dominating the sound texture.This sonic scene moves through a pizzicato passage which returns to the percussiveness of the earlier section with sprinkles of sustained tones peering out. Eventually longer sustained passages predominate the surface of the work.A moment pause of silence breaks this activity. After the momentary pause, excited sustained suspenseful passages lead to high tension filled moments which culminates into color effects. The composer uses the following techniques to accomplish this fascinating string quartet sound:

Playing on the tailpiecePercussive effects (striking the strings with the

open palm of the hand, striking the upper part of the sounding board with the nut or the finger tips

Very slow vibratoPlaying between the bridge and the tailpieceNon-rhythmicized tremoloIndefinite pitchesCol legnoSul ponticelloPizzicato

It is interesting and important to see how the composer applies the techniques developed and implemented thus far in larger works to a chamber piece. The fact that the composition is for a string quartet and written in the early stages of the composers development is significant.

6

Understanding of early compositions create a better insight into the present works of a composer and provides future musicians with a thorough knowledge of the works importance. The detailed analysis will deal with the most important parameters such as rhythm, pitch and form.

CHAPTER 2COMPOSITIONAL ANALYSIS

RHYTHM

The composer ignores the traditional barline in this work. Instead of using a metered system of notation he divides the score into durational units of a second. Beneath each system is a thick horizontal line used to indicate the actual time allocated for each individual system. A set of numbers representing seconds is listed along this horizontal line. Each page, of the score, contains sixty units. These units are divided into four systems, consisting of fifteen seconds each. They are additionally grouped, by a thicker vertical line, into three five second sections. See example 2.1.

Events are notated and are to be performed according to their spatial appearances within each one second group. The duration of a note is indicated by the length of the line which precedes the note. See example 2.2. If there

7

8

is no line preceding a note, the duration is determined by the space it occupies within the durational time unit.

EXAMPLE 2.1

vln I vln II via vc

0" 1" 2" 3" 4" 5" 10" 15"

EXAMPLE 2.2

V

iI4 * ■<i' r r

The absence of meter does not signify a lack of tempo. Tempo is indicated by one second time units. It could be said, in its simplest, that the thicker vertical lines represent measures containing five beats with a pulse of

9

sixty beats per minute. However, even though tempo is given, there is a lack of a steady beat. When listening to the piece there is no feeling of an accented down beat to indicate the beginning of a measure or to signify the feeling of a steady pulse. There is also no accelerando or diminuendo of tempo within the work. The composer is not strict about the one second tempo and allows a deviation from 0.8 to 1.4 seconds within each unit. This variation of tempo is determined by the performers, as indicated in the preface of the score.

With the equal division of durational time units, it would seem that the composer could have written the work using barlines and metered notation. It is possible that the composer could have metered the score. For example, a unit of five seconds could very well be written as a bar of 5/4 with the beat equal to sixty. Example2.3 is how it appears in Penderecki's score and example2.4 is how it could have been written. Nevertheless, Penderecki's choice of notational system seems both functional and practical as it is. It is functional in that it blurs all feelings of a steady pulse for the listener, yet practical in maintaining a steady metered flow for the performers. It is also functional in creating highly complex rhythmic patterns, yet practical by allowing

1 0

the performers an amount of freedom to interpret these patterns. If the composer chose to notate the quartet

EXAMPLE 2.3

20"

using the traditional method of a metered system, the work could cease to be as functional and practical. To produce

11

similar results in rhythmic activity, the traditional method would seem highly complicated.

EXAMPLE 2.4

R t e ------- ^ ^ --

*—/

i i </ ^

i & i i i i' f h

. L

m

--

Metering the composition produces extremely difficult patterns. This type of complexity is difficult to coordinate and thus impractical to expect an exact rendition

1 2

of what is written. The following example (example 2.5) contains a traditionally notated rendition of a passage from the quartet.

EXAMPLE 2.5

11--3 -

sh**---- ‘h / -b

4-=-------~a

£W =,___3

T ~ >

4 - ^

^ -y

9

- 4 -3---3--

= * = £ * = :

I H

■ r i/ ' ■ o-..I

j p..

3 --- 1+ - i - - f - T

i— *■±

--4-4— !*

*/

L_,-----1— ' N '

? f'l t/'ff

rr>==/;l$ — •*-W

v—-4-

f=w=4— *-

:b| fj

p = HiLLmhti

fW- p=-. 1 7" i

1— 3

--4-3 ---1 ifj i

t

The three measures represent time units 1'46", 1 '47" and 1'48" consecutively. Tempo and meter are indicated.

13

Example 2.6 is how the material appears in Penderecki's score.

EXAMPLE 2.6

i-. ; e

---— f*pt

¥

¥

b>-

i■ i , L.

»*=■

i t

— 1

■

t

< ¥

f—k

" 7 *

k. F1"-- b*■—

± ¥

= r f la

3

V—

7T

DM

— f

"xj.»—

-a—ZM------h -

In addition to the rhythmic complexity, the element of chance would be missing if an exact metered notation were used. These chance elements allow the players a greater freedom of expression, thus creating the element of performers relying on one another to cue their entrances, which goes well with the intimacy of the string quartet

1 4

performances. Also rhythmic ambiguity co-exists with pitch ambiguity and any change would ruin the balance between the two. In effect, the entire composition may be viewed as notated in barlines of seconds which make the exact location of events impossible to pinpoint. This produces a degree of controlled indeterminacy, which simultaneously gives the performers more freedom and control. It would be prudent to say that the current form of notation embodies the thoughts of the composer and proves its practical value, which is to provide the performer with a clear set of instructions.

This type of notation, involving one second partitions, leads to a variety of rhythmic constructions. It will be examined whether patterns appear within these units. Charts representing the score were completed and a search for significant patterns executed. An explanation, of these charts are included.

Each column of numbers represent a one second interval. The numerals indicate the number of attacks executed (both pitched and non-pitched events) thus pinpointing the rhythm within the one second time frame of the score. The total beneath the columns signify the sum of each column added vertically (the total of attacks which occur per second).The second total, to the right and in bold, illustrates

1 5

the quantity of attacks which occur within the system.This set of numbers represent the sum of attacks horizontally. For additional charts see Appendix A.

EXAMPLE 2.7

Systan 1: totalvln I : 0 0 0 0 0 0 1 0 0 0 0 0 0 0 0 1vln H: 0 0 0 0 1 0 0 0 0 0 0 0 0 0 0 1via : 0 0 0 0 1 0 0 0 0 0 0 0 0 0 0 1vc : 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1total : 1 0 0 0 2 0 1 0 0 0 0 0 0 0 0 4

The outcome of this search did not uncover patterns associated within the individual units or within groups of units. No discoveries, such as the use of serialized rhythmic patterns were found. However, what was noticed was the equality in which all four instruments were used within the groups. No instrument received significant duties of performance above the others. This type of research was replaced with a similar method of research regarding attacks attached by ligatures. Ligatures refer

1 6

to the horizontal lines which connect the events to one another. Example 2.8 contains simples of ligatures.

EXAMPLE 2.8

This method, of examining the number of attacks according to their ligature attachment, proved to be fruitful. The initial response was that the ligature attachments were used to direct rhythm and tempo. For example, to distinguish between a quarter note, four eight notes, triplets, sixteenth notes, etc. But, this distinction would be unnecessary when used in the notational context of this quartet. There are no clear distinguishing marks concerning the speed of the notes and ligatures.Note speed is decided by placement within the individual time unit. Therefore, it could be said that the ligatures represent phrasing and to some degree motivic delineation.

17

Moving directly to patterns which appear within the environment of ligatures, serialized rhythmic contours can be immediately eliminated. It seems the composer relies on a method of repetition and imitation. He also uses numerical ordering (within an individual line) to create rhythmic activity.

The following is a collection of attacks beginning in the second system of page one of the score. The set of numbers represent the ligature groupings for the first page only. They are listed according to instrumentation.

EXAMPLE 2.9

sysLeu 2vln I: (10) 11 9 7 5 / 3 2 1 2 3 4 5 5 6 8 9 / 8 5 6 5 4 2 3 1 2 3 4 / vln H: (9) 8 8 7 6 5 4 3 2 1 3 5 6 9 11 / 12 8 4 3 2 1 3 2 5 5 7 / via : (8) 8 6 7 5 4 / 2 3 1 2 3 4 8 8 10 9/ 6531 2 3 4 5 6 6 / vc : (13) 12 8 5 3 2 1 / 3 2 4 5 7 6 8 9 8 / 7 6 5 4 3 2 1 3 2 3 7 9 /

Simple numerical patterns can be found in the collection, such as 3 2 1 2 3 4 5 ; 1 2 3 4 5 6 ; 8 7 6 5

4 3 2 1 etc. These are interesting discoveries and patterns such as these are located throughout the composition.(There also seems to be a possible error in the score.The vln. II ligature at O'30" should connect to the ligature at O'31". Instead, the appearance of a ligature attachment occurs in the viola at 0'31").

18

Numerical ordering is not the only rhythmic device used throughout the composition. In addition to this, the composer uses rhythmic imitation, rhythmic inversion, rhythmic diminution and sections in which the players perform simultaneous rhythmic patterns.

EXAMPLE 2.10

vln I vln II via vc -Fi n -F

25" 30"20 "

vln I vln II via vc

inn r

m

Hi

itm

f n

rnn r m

m

35" 40" 45"

Imitation appears early in the work. This imitation uses the numerical ordering of 3 2 1, and its inversion

as well as variations of the order. Example 2.10 represents the pattern relationships. The cello has the order of 3 2 1 (O'27"). This is repeated in the first violin as3 2 1 2 3 (O'30"). The second violin and the viola state rhythms in reverse order: violin II 3 2 1 (O'34"); viola1 2 3 (O'34"). Variations of the order also appears.

The introduction of pitch repetition occurs with variations of the 3 2 1 numerical pattern. The second violin states two B naturals at O'59" (1 2 3). This is immediately imitated by violin I with two G naturals (2 3 1). Such patterns appear throughout the composition.

Pitch repetition leads to a rhythmic climax. A rhythmic climax can be defined as an increase in tempo and rhythmic tension. The composer does not use accelerando in this work. Even though the tempo of the composit'ion remains static, he manages to create the illusion of a tempo increase. This activity begins at 1'16". Events increase and create a driving rhythmic force towards their high point, which is the glissandi section. This creates rhythmic tension and release. It is immediately followed by chordal activity, which is imitated. The following

20

example contains the staggered imitated pattern. This pattern occurs in all instruments (1'24").

EXAMPLE 2.11

Seeing the complexity created by rewriting Pendericki's score in a traditionally notated system, perhaps the composer developed this type of notation in response to the complexity of the post-Webern era. The compositions at this time were becoming rhythmically difficult and the method used by Penderecki produces an ease of performance.It also allows an amount of controlled improvisation which assist the performers in their interpretation of complicated rhythmic patterns, thus making performances easier.

CHAPTER 3

PITCH

On a first glance of Penderecki's First String Quartet, pitch organization does not seem prominent. The materials that stand out most are the fascinating method of notation and aleatoric aspect of the score. Therefore, it would seem that the pitch element is not foreground, but background material. Seen in this manner, it could be construed that the structural foundation of the composition relies on pitch. Pitch serves as the underlying factor on which additional elements are built.

Further study reveals that the compositional pitch content is based on a twelve note series. Despite this fact, the composer does not follow traditional serial compositional procedures. He presents the row in various complete and incomplete statements which are distributed, in a linear fashion, throughout the instruments.

The pitches that appear in the opening seconds of the composition are listed below in example 3.1. These

21

22

notes are organized into tri-chords based on half steps.At this point, in the composition, it is impossible to detect a twelve note series. Example 3.2 states the pitches and their distribution according to range and instrument.

EXAMPLE 3.1D Eb Db G Ab A Db D -

EXAMPLE 3.2

it*

The next written pitch is played approximately O'32" into the composition. Considering the tri-chord pattern of the opening, a search for a similar design was initiated. The following order of pitches appear.

G F| Ab Bb B A E F Eb Db D C

The tri-chord combination occurs, as it does in the opening seconds of the work. In addition to this discovery, all

23

twelve pitches of the chromatic scale are stated without repetition. This is the first indication of a twelve note series. Example 3.3 illustrates the collection of pitches and their location on the score.

EXAMPLE 3.3

Continuing with the search produces additional tri-chord designs. At O'40" into the composition pitch combinations, as seen in example 3.4, are stated.

EXAMPLE 3.4- B C# Dff E D A Bb Ab F# G F

(the missing tone in example 5 is C natural)

This tri-chord conformity presents itself clearly. The inclusion of further pitch collections (see example 3.5) not only continue to produce the tri-chord model,

24

but also create reoccurring twelve tone patterns. Thisleads to the conclusion that a twelve tone series.

EXAMPLE 3.5

C# C D E F EbC BCff Eb E D

The matrix (example 3.6) i twelve note statement.

EXAMPLE 3.6

G Fff Ab Bb B AAb G A B C BbF# F G A Bb AbE Eb F G Ab FffEb D E Fff G FF E Fff Gff A GBb A B Cff D CA Ab Bb C Cff BB Bb C D Eb DbCff C D E F EbC B Cff Dff E DD Db Eb F Fff E

the composition is based on

Bb B A G Ab Fff Bb Ab Fff G F

based on the first complete

E F Eb Db D CF Fff E D Eb DbEb E D C Db BCff D C Bb B AC Cff B A Bb AbD Eb Db B C BbG Ab Fff E F EbFff G F Eb E DAb A G F Fff EBb B A G Ab FffA Bb Ab Fff G FB C Bb Ab A G

Dividing the series into a hexachord produces the intervalic relationships of a minor second, major second, major second and minor second. These intervals are repeated

25

in the second hexachord of the series. The interval that separates the hexachord is that of a perfect fifth (example 3.7). Therefore, the series is hexachordally combinatorial. The first hexachord of PO appears in the second hexachord of P6 (example 3.8). However, the composer does not use the series in a combinatorial fashion.

EXAMPLE 3.7

G F# Ab Bb B A / E F Eb Db D Ci 1 1 £ 1 P5 i 1 1 i 1

EXAMPLE 3.8

PO: G F# Ab Bb B A / E F Eb Db D CP6: Db C D E F Eb / Bb B A G Ab F#

There are a few questionable moments regarding pitch content in the quartet. Even though, incomplete versions of the set appear throughout the composition, beginning at 1'33" a debatable row is outlined. The uncertainty that arises, at this point in the composition, concerns the question of a purposeful omission or an error. The variant appears in example 3.9. The F natural is the note which is lacking to complete the row. Located at 1'35",

26

in the viola, there is a G natural (g). The possibilities of this G natural being an error due to clef placement seem rather high. The G natural (g) has been repeated several times by the viola. But, if the g clef is placed immediately before this pitch, the note then becomes an F natural (f1) and this F natural makes the set complete. This change does not alter any additional pitches or disturb any further rows.

EXAMPLE 3.9

13: Bb B A G F# G# C# C D E Eb ____

In addition to this, there is a B sharp (b1 sharp) located in the cello at 1'50" into the composition. This pitch seems questionable. B sharp is the enharmonic spelling of C natural. An argument could be made of keeping sharp sets together to avoid confusion. That is, a C sharp followed by a C natural is more difficult in performance than a C sharp followed by a B sharp. In this case the note before this B sharp (b1 sharp) happens to be a C sharp (c1 sharp). But, if a ledger line is removed from this

27

B sharp it becomes a G Sharp (g 1 sharp) and this happens to be the missing pitch to form a complete set.

EXAMPLE 3.10

P3: Bb A B C# D C G F# E F Eb

The preceding information consisted of questionable pitch omission which occur throughout the work. Complete forms of the row are stated twenty-six times in the composition. Incomplete versions of the row appear in thirty-two various locations. The forms of the row used are restricted to the original and its transpostions and the inversion and its transpositions. The retrograde and retrograde inversion form are not stated in the composition.

The serial struture of this composition serves as a frame and it is used to signfy and accentuate formal aspects of the composition. The original row (PO) appears at key moments in the quartet. This is seen immediately following the first rhythmic climax (1'49"). Another example happens at 3'38" signifying a powerful dynamic contrast in the composition and the second rhythmic climax is based entirely on this combination (4*53").

A striking effect which merits attention occurs at 4 1 0 4 ". The composer, up to this point, has avoided unisons.

28

Starting here and continueing to 4'14" all instruments share, in staggered formation, a unison. The shared note is a G (g). The importance of this G suggest a tonal center. This is not a suggestion of tonality, but an indication that there is a pitch in which the remaining tones revolve around. This G is the opening note of the original series (see O' 32" first violin). The importance of this section and the relationship it has to the original series gives the composition a tonal center of G. The tonal center relates directly to the primary row of the series.

The pitch content of the composition is based on a twelve note series and acts as an underlying structure to support the work. Incomplete versions of the row appear throughout the work and the row is never presented in a combinatorial fashion. The series is best described as used freely throughout the composition. The composer does not use the row in an ordered fashion. He moves about freely combining intervals of a minor second and their octave displacements. The harmony created by this type of activity revolves around the minor seconds and their octave displacements. The harmony also varies slightly due to the aleatoric aspect of the composition. Appendix B contains a pitch reduction of the entire score.

CHAPTER 4FORM

When dealing with the formal aspect a composition there are certain events which delineate the various parts In a traditionally oriented composition these events would be tonality, meter and tempo. The change of one or more of the previous would signify a section change. Taking into consideration the uniqueness of the quartet, which lacks meter, has no tempo changes and is not tonally based (therefore has no modulations) other events must denote a change of section. Since rhythm controls the flow of this composition and the serial pitch content serves as its foundation, it could be said that rhythmic and pitch content support the ideas that are immediately noticed when viewing the score. These elements are the indeterminate components and various notational devices.It would seem that these factors are used to determine the form of the composition.

29

30

The indeterminate aspects of a composition can bedivided into three categories. These categories arecomposer indeterminacy, performer indeterminacy and composerand performer indeterminacy. Composer indeterminacy isprimarily music which is predictable before performancebut was composed with the use of some type of chanceoperation. Performer indeterminacy is music which isdeterminate in respect to composition but indeterminate

2in respect to performance. Composer and performer indeterminacy music can be indeterminate in respect to both composition and performance, at no time is there a predictable outcome.^

Penderecki's chance elements, in the quartet, vary slightly from those described above. David Cope divides the terminology used to describe chance operations regarding American and European composers. He defines the chance operations used by European composers as aleatoric and describes it as primarily a European concept which employs chance techniques within a controlled framework, more

1David H. Cope, New Directions in Music (Dubuque, Iowa: WM. C. Brown Publishers, 1989), 152.

2Ibid., 157.3Ibid., 162.

314related to improvisation than true indeterminacy.

Therefore, the term which best characterizes Penderecki's quartet is aleatoric. The composer uses a controlled degree of chance in the composition. He outlines the framework of the composition and allows a limited element to be interpreted by the performers. For example, the events which take place are timed. Variations in each performance are, to a degree, limited. Nevertheless, indeterminate pitches and rhythms will vary with each additional rendition. Subsequent indeterminate pitch concerns, in which the outcome is not known by either the composer or the performer, are the highest note possible ( f ), playing between the bridge and tailpiece ( ), playing on thetailpiece ( ), percussion effects by striking the strings< rn ), and percussion effects by striking the upper part of the sounding board ( J R )-

Other techniques used to give the composition its unique sound are listed below:

A = Arco (with the bow)Pz = Pizzicato (pluck the strings with the

fingers)N = Normale (return to normal bowing)

c. 1. = Col legno (with the wood of the bow)s. p. = Sul Ponticello (bowing near the bridge)s. v. = Senza vibrato (without vibrato)

4David H. Cope, New Directions in Music (Dubuque, Iowa: WM. C. Brown Publishers, 1989), 152.

32% = Legno battuto (strike the strings

with the stick of the bow) Non-rhythmicized tremolo Molto vibrato

0 / ^ = Slow vibrato. £ tone interval produced senza arco = without the bow

The composer, in the preface to the score, explains the notational devices used throughout the piece.

Listening to a performance of the quartet, without viewing the score, gives the impression of a work consisting of two parts. These sections seem to oppose each other.The first is a quick paced, highly agitated, tension filled drive to a climax or closer. The second section is the opposite of this excited tense division. Its features can be interpreted as a response to the fast moments of the first section. It is a slower paced dynamically rich segment.

But, close study of the score reveals a variety of elements which define the structure of the quartet's form.

non-pitched against pitched dynamic motion against static motion

The work may be divided as non-pitched (percussive and indefinite pitch) in opposition to pitched material and dynamic motion (agitated motion) contrary to static motion (slower sustained motion).

33

The composition is in sonata form. Example 4.1 shows the formal layout of the work.

EXAMPLE 4.1INTRODUCTION . O'01" to O'20"EXPOSITION

Theme O n e . O'21" to 2'47"Theme T w o . (O'32" with theme one)Theme Three .... 2'48" to 3'10"

DEVELOPMENT ...... 3'14" to 4'58"RECAPITULATION ... 4'59" to 6'00"Theme one is made up of two percussion effects. One

is to strike the strings with the open palm of the hand or fingers and the other, which provides a type of accented beat, is to strike the upper part of the sounding board of the instrument with the nut or the finger-tips. Theme two, which is heard simultaneously with theme one, consist of the pitched element to the composition. Theme two begins with the first given pitch after the introduction, thirty-two seconds into the piece. Theme three is the closing theme. It is introduced by harmonics, playing between the bridge and tailpiece, and the highest pitch possible (indefinite pitch).

The composition (system one, page one) begins with a pitched low-register section with rising and falling glissandi traveling from low to mid-register. The dynamic level is set at fortissimo (ff). At sixteen seconds into the composition the composer introduces playing between

34

the bridge and tailpiece legno battuto. These are the events which make up the introduction.

Twenty seconds into the work Penderecki presents two non-pitched elements which produce highly percussive sounds. These sounds (which make up theme one) are produced by striking the strings with the open palm of the hands or fingers and by striking the sounding board with the nut or finger-tips. Within thirty-two seconds of the work the pitch element combined with the non-pitched percussive material are stated. These statements represent the pitch, non-pitch opposition of the work. Towards the latter part of the system (system three) he presents a new performance technique. The musicians are to play pizzicato on the highest pitch possible. System four (page one of the score) continues with the percussive material, the pitched element, the highest pitch played pizzicato and now includes repeated pitched passages (0*54") .

On page two, system one, the elements which were used in the preceding systems continue. The pitched repeating figures are now increased and appear in all parts. Five seconds into system two, he switches from the combination of percussive, pitched and highest note possible, to a totally pitched section followed by glissandi, (with the

35

wooden part of the bow, and a rapid non-rhythmicized tremolo) than immediately returns to the previous material.

In the third system, of page two, the pitch element gradually begins to dominate. Towards the end of this system every note on the score is a given pitch and played pizzicato. This type of activity continues into the fourth system. Starting with the second half, (of system four) elements from the earlier sections, such as the highest pitch possible and the percussive materials, are gradually restated. At this point a new element is presented. It is playing between the bridge and tailpiece.

Page three, system one is a continuation of the previous system. In system two, the motion of the composition begins to decrease. Sul ponticello along with the use of harmonics are now incorporated into the flow of the work. From the opening seconds, of the work, up to this point the dynamic levels were fortissimo (ff).The loudness level had not changed since the piece began. However, as the motion of the piece slows the dynamic level also decreases. Nevertheless, the excitement level of the composition has not decreased. The motion of the composition continues to decrease in the third system.

In system four longer sustained notes with an increased range of dynamics appear. This takes place in the upper part of the instrumental range. The use of the highest

36

note possible predominates. This marks the closing theme of the exposition. Page four, system one continues with the longer sustained passages. The dynamic level of the closing theme ranged between fortissimo (ff) to pianissimo (pp). Three second of silence separates the exposition section from the development section. It is interesting to note that the composition is at approximately mid-point.

After the moments of silence a single note, without vibrato, is heard. The presence of the rest highlights the solo instrument. At this point (page four, system one) the dynamic level of the solo instrument is pianississimo (ppp). This solo instrument designates the opening of the exposition section. In system two the use of rest and varied dynamics continues. A fast vibrato in combination with a very slow vibrato is distributed amongst the instruments. System three maintains the previous elements, brings back the use of harmonics and incorporates a wide variety of dynamics. There is a return to the use of chords, pizzicato, glissandi and repeated note patterns. System four is a continuation of system three.

On page five, system one develops the previously presented material. In system two a new element is added, that is, playing on the tailpiece, (arco). Mutes are introduced and there is a return to the sustained passages.

37

Longer sustained passages, within a very soft dynamic range prevail, in the third system. System four signifies the close of the exposition section of this composition.

The recapitulation begins with the restatement of the percussive material, reminiscent of the opening thematic information (4'59")- At this point (system one, page five) the fast percussive section returns in conjunction with the sustained notes. The second system consist of longer held notes with varying degrees of vibrato, which carries over into the third system. The final system of the composition ends with soft passages played between the bridge and tailpiece and on the highest pitch possible.The dynamic range is to the extreme of being barely audible.

Dynamics serve to highlight the texture and expressiveness of the composition. The loudness level ranges from the quietness of pppp (page four, system one and page five system three and four) to a high of fff (page five, system two).

The following examples represent the formal division of the score. Example 4.2 shows the amount of time given to each section. For instance, the length of the introduction is twenty seconds. The exposition last a total of two minutes and fifty seconds. The development section is one minute and forty-eight seconds long, while the recapitulation takes one minute and two seconds of

38

time. Example 4.3 shows the time markings as they relate to the location on the score.

EXAMPLE 4.2

INTRODUCTION EXPOSITION DEVELOPMENT RECAPITULATION20" 2 1 5 0" 1 '48" 1 102"

EXAMPLE 4.3INTRODUCTION EXPOSITION DEVELOPMENT RECAPITULATION

0 120" 0 121"-3110" 3 114"-4'58" 4'59"-6'00"

Example 4.4 shows the following techniques used throughout the work.

EXAMPLE 4.4EXPOSITION

Pitched against non-pitched (percussive)Highest pitch possible played pizzicato Repeated pitch passages Totally pitched sectionGlissandi (with the wooden part of the bow, and a

rapid non-rhythmicized tremolo)Returns to pitched contrasting non-pitched Playing between the bridge and tailpiece HarmonicsGradual slowing down of the motion Change in dynamic level

DEVELOPMENT Longer sustained notes Increased range of dynamics Upper portion of the instrumental range Highest note possible predominates Incorporates rest of silence Shift in registersFast vibrato in combination with slow vibrato Harmonics

EXAMPLE 4.4 (continued)ChordsPizzicato glissandi Repeated note pattern Glissandi Normale Playing on the tailpiece MutesReturn to long sustained passages

RECAPITULATION The recapitulation repeats material form the

exposition.

Study of the score reveals a variety of elements whi< define the structure of the quartet. These elements work together and produce the unique and exciting sounds of this composition.

CHAPTER 5 SUMMARY AND CONCLUSION

Recognized as a leader in the world of contemporary music, Krzystof Penderecki is known and revered for his innovative use of instrumental color and highly creative notational devices. His unique musical language uses traditional instruments in non-traditional fashion. The fascinating visual aspect and the aleatoric nature of the score appear as foreground material. Penderecki's First String Quartet is a well crafted composition. It is highly structured and combines a variety of techniques to create its unique design. The originality of the score and the sounds produced by the quartet are well thought out compositional procedures.

The ideas which stand out most are those involving the visual aspect of the score. Foreground material, such as indefinite pitch, percussion effects and the aleatoric aspects seem to dominate the pages of the work. The background material which includes rhythmic and pitch

40

41

elements are not immediately noticed. Their roles are somewhat overshadowed by the foreground material. Nevertheless, both the rhythmic and pitch content play an important role throughout the composition.

When looking at the work, a rhythmic explanation of the score would state that the composition lacks meter and tempo indication and contains no barlines. All of these rhythmic items seem to be missing. But, when listening to the work, the missing elements do not hamper the sound of the quartet. Close study of the score reveals that the work has tempo, meter and is divided into what may be called barlines of seconds. The composer could have metered the score. However, metering the score would create extreme rhythmic complexity and cancel the aleatoric nature of the work. The indeterminate aspect of the score allows for a greater freedom of interpretation. The function provided by this type of notation produces an atmosphere of highly complex sounding rhythms while allowing the performers a measured amount of freedom. This measured amount of freedom permits an ease in coordinating the performance, as well as allowing the players a greater range of expression.

The indeterminate aspect of the score also overshadows the pitch element of the composition. Therefore, the pitch organization functions as background material. It could

42

be said that pitch serves as the underlying factor on which further components are constructed. Study of the score discloses that the pitch content is based on a twelve tone row. However, Penderecki shows that he is not strict, in his use of the row, by including both complete and incomplete versions throughout the composition. The composer, by use of repetition, hints at a tonal center. This tonal center does not suggest a tonality, but merely signifies a pitch in which the remaining tones revolve.

Possible printing errors, concerning pitch indication, occur in the score. One such example, involving a ledger line, happens in the cello part at 1'50" into the work.At this point, in the composition, a B sharp is stated.The missing pitch, which completes the twelve note row, is a G sharp. If a ledger line is removed from the B sharp it than becomes a G sharp. The removal of the ledger line does not alter any additional pitch organization within the piece. However, the composer may have chosen to omit the G sharp from the row. But, when taking into consideration the amount of detail the composer devoted to the score, an error seems debatable. The tightness of the score makes this a highly probable copy error.

The pitch and rhythmic elements of a composition are used in distinguishing the various sections which make up the form of a work. Therefore, an alternation of tempo,

43

meter or a modulation of tonality would indicate a section change. Considering the absence of a certain number of these elements, within the quartet, additional information must indicate the various sector changes. The information which aids in the determination of form is governed, to an extent, by the general string effects that appear within the work. Also, this piece could be divided as pitch versus non-pitch (percussive and indefinite pitch) and static versus dynamic (motion).

The First String Quartet is in sonata form and the composer follows this configuration closely. An introduction comes before the exposition. This introduction works as a brief opening preparing the arrival of the first theme. Theme one, of the exposition, is indicated by percussion effects. Theme two, which is heard in conjunction with theme one, is made up of the pitched elements. The third theme, or closing theme, is expressed by harmonics, playing between the bridge and tailpiece, and the highest pitch possible. The development section follows a brief moment of silence. This section includes an extreme range of dynamic level and contains further sustained passages. The recapitulation brings back the material from the previous section. All of these elements, used by the composer, come together to produce

44

the innovative instrumental color effects which are highly representative of the compositions of Kryzstof Penderecki.

The techniques, which are found in this composition, contributed to Penderecki's rise in the ranks of the avant garde. It was during this time period that the world took notice of the young composer. Therefore, study of his early works are important in understanding the development of the composer. Not only, is this type of study important from a compositional stand point, it is equally important from a performance stand point.

BIBLIOGRAPHY

Austin W. William. Music In The 20th Century. New York:W. W. Norton & Company Inc., 1966.

Battcock Greogory, ed. Breaking The Sound Barrier. New York: E. P. Dutton 1981.

Brindle Reginald Smith. The New Music: The Avant-gardesince 1945. New York: Oxford University Press 1975.

Griffiths Paul. The String Quartet: A History. New York: Thames and Hudson Inc., 1983.

_________. The Thames and Hudson Encyclopadia of 20thCentury Music. New York: Thames and Hudson Inc.,1 986.

Hansen Peter S. Twentieth Century Music. Boston: Allyn and Bacon, Inc., 1971.

Hausler Josef. Musik im 20 Jahrhundert. Germany: Carl Shunemann Verlag Bremen, 1969.

Lipman Samuel. Music After Modernism. New York: Basic Books, Inc., Publishers, 1979.

Maciejewski B. M. Twelve Polish Composers. London: Allegro Press, 1976.

Minear Paul S. Death set to Music. Atlanta, Georgia:John Knox Press, 1987.

Morgan Robert. Modern Times: From World War I to thePresent. United Kingdom: Macmillan Press Limited,1 993.

45

46Myers Rollo H., ed. Twentieth Century Music. New York:

The Orion Press, 1968.Nyman Michael. Experimental Music: Cage and beyond.

London: Cassell and Collier Macmillan Publishers Limited, 1974.

Ochlewski Tadeusz. An Outline History of Polish Music. Poland: Interpress, 1979.

"Performance Today" on National Public Radio, WRKF in Baton Rouge, LA, 16 May 1995.

Pettitt Stephen. "Is The Symphony Extinct?" BBC Music,June 1995, Vol 3 No 10.

Pleasants Henry. Serious Music-and All That Jazz. New York: Simon and Schuster, 1969.

Robinson Ray, and Al Winold. A Study of the PendereckiSt. Luke Passion. Germany: Moeck Verlag Celle, 1983.

________. Krzystof Penderecki: A Guide To His Works. NewJersey: Prestige Publications, Inc., 1983.

Sadie Stanly, ed. The New Grove Dictionary of Music and Musicians. Washington, D.C.: Macmillian Publishers Limited, 1980.

Salzman Eric. Twentieth Century Music. New Jersey:Prentice Hall, 1988.

Schaefer John. New Sounds: A Listener’s Guide To New Music. New York: Harper & Row, Publishers, 1987.

Schwinger Wolfram (translated by William Mann). Krzystof Penderecki His Life And Work Encounters, Biography and Musical Commentary. London: Schott & Co. Ltd., 1989. Szczepanski Jan. Polish Society. New York: Random House, 1970.

Watkins Glenn. Soundings Music in the Twentieth Century.New York: Schirmer Books, 1988.

Wittlich Gary E. ed. Aspects of Twentieth-Century Music. New Jersey: Prentice-Hall, Inc., 1975.

APPENDIX A

RHYTHMIC CHARTS

PA32 ONEsystem 1: totalvn I : 0 0 0 0 0 0 1 0 0 0 0 0 0 0 0 1vn U: 0 0 0 0 1 0 0 0 0 0 0 0 0 0 0 1vl : 0 0 0 0 1 0 0 0 0 0 0 0 0 0 0 1vc : 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1total: 1 0 0 0 2 0 1 0 0 0 0 0 0 0 0 4

systan 2 totalvn I : 0 4 1 2 3 2 4 5 4 2 3 4 1 4 3 42vn U: 0 0 1 4 4 5 3 3 2 4 4 2 4 2 2 40vl : 1 0 4 0 3 3 3 3 3 2 4 3 2 3 4 38vc : 0 1 2 5 5 4 2 5 2 5 2 4 2 3 2 44total: 1 5 8 11 15 14 12 16 11 13 13 13 9 12 11 164

system 3 totalvn I : 4 2 2 4 1 3 2 6 2 5 2 6 2 5 3 49vn IE: 3 4 3 3 3 2 4 3 5 3 5 4 4 2 5 53vl : 2 3 3 3 5 2 5 3 4 5 2 3 4 4 3 51vc : 3 2 4 2 4 3 3 4 2 3 6 3 5 1 5 50total: 12 11 12 12 13 10 14 16 13 1 6 15 16 15 12 16 203

system 4: vn I : 3 2 4 4 3 5 3 3 2 3 2 2 2 3 4

total45

vn H: 2 4 4 2 4 4 3 3 3 6 2 4 4 1 2 48vl : 4 3 5 1 3 2 4 3 3 2 2 3 2 2 4 43vc : 2 5 4 2 5 4 5 3 3 2 5 5 2 7 2 56total: 11 14 17 9 15 15 15 12 11 13 11 14 10 13 12 192

47

514111

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EKE TWO

total2 4 5 3 5 2 5 1 5 1 2 1 4 474 1 2 6 1 4 2 2 3 4 1 4 1 423 6 3 3 5 5 5 2 3 3 4 4 1 525 2 6 5 1 6 1 5 1 2 2 2 3 4614 13 16 17 12 17 13 10 12 10 9 11 9 187

total

3 1 4 4 5 6 8 0 1 3 2 1 2 444 3 2 4 5 7 1 2 2 2 1 2 0 402 1 5 3 5 5 3 1 2 2 2 1 1 393 3 3 5 3 7 6 0 2 2 2 2 1 4112 8 14 16 18 25 18 3 7 9 7 6 4 164

total5 2 1 2 4 2 2 1 2 3 2 4 3 341 1 4 1 2 1 2 3 1 2 3 3 2 315 4 2 3 1 2 5 2 1 2 2 2 3 375 1 1 2 2 1 2 1 2 2 3 3 3 3416 8 8 8 9 6 11 7 6 9 10 12 11 136

total3 3 3 4 3 3 3 1 1 2 1 2 2 373 3 3 3 3 3 1 3 1 1 2 3 1 363 3 3 4 4 1 2 2 2 1 3 1 3 383 3 3 3 4 2 2 1 2 2 1 2 2 3612 12 12 14 14 9 8 7 6 6 7 8 8 147

49

E?tE TtFEEsystan 1: tnfral

vn I : 2 2 1 1 1 2 3 1 1 3 2 1 1 3 1 25vn II: 3 1 3 2 2 2 1 1 3 1 1 1 3 2 3 29vl : 1 1 3 2 2 2 2 2 3 3 2 2 1 2 4 32vc : 1 3 1 1 3 1 1 2 2 3 1 3 3 2 3 30tctal: 7 7 8 6 8 7 7 6 9 10 6 7 8 9 11 116

systan 2: vn I : 2 3 2 1 2 1 2 2 5 1 1 0 0 4 1

total27

vn II: 3 1 1 1 2 3 1 1 0 3 3 1 1 0 3 24vl : 2 2 1 3 1 2 1 3 1 1 2 1 5 1 0 26vc : 1 1 3 1 0 1 3 1 1 0 0 2 4 4 2 23total: 8 7 7 6 5 7 7 7 7 5 6 4 10 9 6 100

APPENDIX B QUARTET PITCH REDUCTION

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SYMPHONY II

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Tubular Bells (T.B.) Roto Toms (R.T.)Xylophone (Xylo.)Suspenden Cymbal (Sus. Cym.) Bass Drum (B.D.)Snare Drum (S.D.)

Percussion 3

Crotales Triangle (Tri.)Hand Bells (H.B.) Snare Drum (S.D.)Tubular Bells Temple Blocks (T.B.)Suspended Cymbal (Sus. Cym.) GongBass Drum (B.D.)

Violin 1 (Vln.) Violin 2 (Vln.) Viola (Via.)Cello (V.C.) Double Bass (D.B.)

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1. Glissandos are notated — ✓'''and depart form the given pitch.The pitch indicates a change of string.

2. Crescendos occasionally do not denote dynamic arrival, this is left up to the conductor.3. 2^ = Highest pitch possible.

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VITA

Mikel Andrew LeDee, a native of Louisiana, was born on April 17, 1961. In 1983 he completed a Bachelor of Arts degree from the University of Southwestern Louisiana, were he studied composition with James Hanna. After finishing this degree he entered Louisiana State University to work on a Master of Music in composition. LeDee, under the guidance of Dinos Constantinides, received this degree in 1987. His high interest in composition convinced him to continue his studies and work towards a Doctor of Musical Arts degree.

LeDee's music has been performed throughout the United States and he is the recipient of various commissions from organizations such as the Louisiana Sinfonietta, Public Television and the Friends of the LSU School of Music.The latter was an orchestral commission commemorating the 50th Anniversary of the LSU Festival of Contemporary Music. In addition, he has appeared as a conductor with the LSU Symphony, the LSU New Music Ensemble and a variety of other performance groups. He is also the founder of the Yavanavich Society for the promotion of new musical compositions. LeDee is a member of the Arts Council of Greater Baton Rouge Community Artist Roster and works in the Arts in Education and Arts Meets Science programs.

1 53

DOCTORAL EXAMINATION AND DISSERTATION REPORT

Candidate: Mikel Andrew LeDee

Major Field: Music

Title of Dissertation: An Analysis on the First String Quartet ofKrzystof Penderecki and an Original Composition Symphony II

Approved:

Major Professor and Chaiirman

Graduate School

EXAMI TTEE:

A-

Date of Examination:

April 9, 1996