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KRZYSZTOF PENDERECKI'
Danuta Mirka
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I. Categories
Although the acoustic wave is a highly complex phenomenon, the
process of its generation can be presented simply as a collision of two
physical bodies, one being a sound source, the other being the body that
vibrates the sound source. It is likely that such a splendidly simplified
image of the sound-producing process was taken up by Penderecki from
the teaching of Mieczyslaw Drobner, the eminent Polish acoustician and
organologist. In 1958 Drobner moved from L6di to Krak6w to take the
its title. In this book, Drobner termed the sound source a vibrator, and in
inciter can be played by any of the listed materials, the vibrator can be
only a metal, wooden, or leather body. In fact, almost anything can be
made to vibrate; thus, it is theoretically possible for felt and hair to act as
436
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sound sources. But with these materials the vibration is so heavily dampened that it does not persist long enough to be heard. In practice, then, at
least one of the two sound-generating bodies must be made of metal,
wood, or leather. For this reason, I will call these three materials primary
materials. In other words, metal, wood, and leather can interact with any
material, including themselves. On the other hand, neither of the two
vibrators
m
inciters
mm
wm
Im
mw
ww
lw
ml
wl
11
h mh wh lh
f
mf
wf
If
437
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1w i 0 ? o
*
*
.... f
........ .....
.... ... 0
.... ..*. ..
.. .... .... .
ial pairs "mw" and "wm," "ml" and "lm," as well as "wl" and "lw,"
repeated in the matrix above, may be reduced to single entries. As a result
of this reduction, twelve pairs of materials remain (Figure 2). Every such
pair indicates one type of sound generator, as well as the type of timbre
characteristic of sounds generated by it.
As stated earlier, all the material categories chosen by Penderecki for
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stage, but that hitherto had never been exploited for sound production:
chairs and stands, which at the beginning of the 1960s were almost always
made of wood. To play on these new sound sources, the sticks and nuts
of bows were employed. Incidentally, it is worth noting that the selection
of new wooden accessories betokens a very pragmatic attitude of the composer. Avoiding the cost that would inevitably result from inventing and
producing fanciful percussive tools, he managed to radically increase
the number of wooden bodies by using objects near at hand. Moreover,
these objects allowed him to diversify the timbre within the group of
stringed instruments, enabling him to employ this group separately. Indeed, from among the pieces based on the timbre system, as many as
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at the end of 1963), and Canon (whose score was published as late as
1974), "tapping the sound board with fingertips" constitutes the sole way
of performing this effect indicated by the composer. As a result of this
compromise between the composer and the performers, a generator was
included among the class "ww" of sound generators which in reality did
not at all belong to it.
In light of the above discussion, it is clear that the notion of a musical
instrument is useless-not to mention anachronistic-in Penderecki's
pieces based on the timbre system. Because most of the instrumentsexcept for some simple percussive tools-consist of a number of con440
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stituent parts, with each part able to interact with a number of inciters,
every instrument becomes the basis for several different sound generators, which, in addition, may represent different classes. This has an
obvious effect on the grouping of instruments, that is, on the orchestration. In contradistinction to traditional orchestration, in which every instrument is ascribed a certain timbral quality, here one and the same
instrument can be used in a number of different ways and cooperate with
several different classes of sound generators in different musical contexts--depending on which of its elements is employed as a sound source.
This issue has in the past been touched upon by musical critics who
applied the term "percussive effects" to some playing techniques on
stringed instruments.6 But this term is unsatisfactory. For, if the classification of instruments depends on their vibrators-and this is actually the
while the musical critics would-in the best case-have suspected him
of a very peculiar sense of humor.
Penderecki's invention of new sound generators-and thereby new
timbres-was thus not a manifestation of extravagance by the composer.
It was not intended merely to shock the audience, nor did it spring from
an exuberant image of sound. Conversely, the new timbres were not-at
least originally-to serve some vague "new expression."7 If Penderecki
introduced in his pieces new quasi-musical instruments, unusual combinations of traditional musical accessories, or any previously unknown
techniques of sound articulation, he did so in terms of his system. Without them, the system would remain merely an intellectual construct devoid of any possible musical realization. Seen from this angle, the orches441
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classification according to the atomic mass disclosed places for new, not
yet discovered elements, Penderecki's system revealed new niches which
could be filled with distinctive timbres. Thus, the system helped stimu-
II. Morphology
Let us turn from the problems of the practical realization of the timbre system to the main subject of this article, a reconstruction of the system itself. As explained earlier, the material pairs shown in Figure 2 fix
be covered by only one material pair. Yet such "monochromatic" segments occur comparatively rarely. Much more frequent are segments
whose component sounds belong to several different classes. How can
their overall, resultant timbres be determined?
The initial analytical procedure in such cases is an enumeration of all
the material pairs producing the sounds of these segments. At this stage
of the description of a single segment, a given material can occur several
times as a component of different pairs. This is so because bodies representing one material category can interact with bodies made of either the
same or different materials, in this way producing sound phenomena that
differ in timbre. From this it follows that different materials may vary as
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mt
w *i o *
him
.
..
composite timbre depends most on the materials that occur most frequently. Those exerting a decisive influence on the timbre of a given
segment will be marked as its main materials. The main timbral roles,
however, can be played only by primary materials-metal, wood, and
leather. Felt and hair can never dominate the timbre of a whole segment,
just as they cannot become a source of any one of its component sounds.
The main materials can be discerned by means of a method that I call
a "common denominator search." This search is easiest and most obvious
ment. Such a segment thus has only one main material (Figure 3). If no
single primary material constitutes a common denominator of all the
pairs within a segment, one has to search for the common denominator
of the greatest number of pairs within this segment, and then for the common denominator of the remaining pairs. If such a denominator as a primary material does exist, the segment has two main materials, and the
search procedure ends (Figure 4). However, if a common denominator
still cannot be found within the group of remaining pairs, one has to
repeat the procedure: first find the common denominator of the greatest
number of pairs, and then the common denominator of the last remaining
group. In such a case, the segment has three main materials (metal, wood
443
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S.......................
Sf i
S............. ....
1....
if?
h?
and leather), thus representing an amalgam of all timbral categoriesthe richest, though at the same time the most heterogeneous (Figure 5).
Needless to say, three is the maximum number of main materials that can
occur in a segment, since in the timbre system of Penderecki there exist
no more material categories able to function as sound sources. At any
stage of the above-described "common denominator search" it can happen that two or even all three primary materials may be represented in the
same number of pairs. In that case, one has to choose one of them arbitrarily and then continue with the procedure. The arbitrary choice does
not affect the resulting set of main materials, which will always be the
same irrespective of which material was chosen first.
It is, however, possible that after the first or the second step of the ana-
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als can constitute a sound source, they are of equal value in determining
the timbre of a segment, irrespective of which one excites (inciter) and
which one is excited (vibrator) in a given process of sound generation.
Hence, if a segment containing such a pair is considered as an isolated
unit, or if in the given musical context it is separated by a general pause
from the preceding and following segments, both primary materials of
the pair would have to be interpreted as its main materials. Yet this almost
never happens in Penderecki's sonoristic pieces. Every segment usually
constitutes a link in a chain whose perception is subject to the Gestalt law
of good continuation (Koffka 1935; for good continuation in music see
do so. On the other hand, orientation toward past events allows reinterpretation of the preceding segment, such that the listener discerns in it the
origins of the timbre quality that is only established as a main material in
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w w
S- -
(b)
m.
w
446
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materials only if they are equally marked as main in the adjacent segments (Figure 7a), or if neither of them occurs among main materials of
either the preceding or the following segment (Figure 7b).
In light of the above remarks it seems clear that the complete definition of a timbre segment, as an elementary syntactical unit of Penderecki's timbre system, requires both the specification of all materials
involved in the generation of its component sounds, and the identification
of those which function as main materials. According to these stipulations, any two timbre segments are different if they vary in either or both
tions. It is noteworthy that, as with the above-discussed examples, segments consisting of the same set of pairs, and hence identical as to their
preliminary material description, can appear to be different in the sense
just stated when put into different musical contexts, because of differences in their main materials. On the other hand, segments consisting of
different sets of material pairs may appear to be two realizations of the
same timbre segment, if the sums of all their material categories and of
the main materials are identical. For the timbre segment as an abstract
syntactical unit, differences in its concrete realization are insignificant so
long as all the materials, including the main materials, remain the same
across various realizations.
III. Syntax
The timbre system based on material categories rules not only the
inventory of the elementary units (segments) that determine the morphology of timbre in Penderecki's early output, but also its syntax, that is,
the succession of segments over the course of a piece. In its essence, this
course is formed by a play of timbral oppositions between metal, wood
and leather as primary materials. First, material categories singled out in
a given piece as opposing timbral qualities may be contrasted by way of
a direct juxtaposition of segments whose main materials constitute poles
of opposition. For instance, a segment whose main material is wood may
come directly after a segment exhibiting a metallic timbre. In such a case,
a presentation of a timbral opposition will happen. Secondly, an opposition may be submitted to mediation, that is, a soft, gradual change forming a transition from one timbral extreme to the other. Segments of opposing main timbres are in this case separated by one or more segments
whose main material is either: (1) neutral in relation to the opposition,
standing outside the material opposition operative in a piece (leather in
the case given); (2) a sum of the opposing materials; or (3) a sum of all
three primary materials. Other types of transition result from varying
temporal relations between segments. Segments need not form a simple
447
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(a)
m
w
1I
ff
(b)
hh
w
,ii
...
ww
fl. ....
ff
Figure 7. One-pair segment with two main materials, metal and wood,
in two different contexts such that these materials are contained (a) or
are not contained (b) among main materials of the adjacent segments
448
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succession; they may also overlap or penetrate one another. Interpenetration of segments happens when a segment gradually decays and the subsequent segment increases in loudness until it completely dominates the
sound field. This may be achieved by dynamics or orchestration: by
gradually lessening the number of sound events belonging to a segment
and adding events belonging to the following one. Interpenetration is
thus a "soft" overlapping of segments. Still more subtle timbral transitions are possible. It must be kept in mind that the sound color of a segment is determined not exclusively by main materials, but bears the
stamp of all the material categories participating in the sound generation
processes. Thus, before a given material is established as having the status of a main material, it may already occur among the material categories of the preceding segment. In turn, a material which ceases to function as a main material may be preserved in later segments, to recall the
previously dominant timbre. Such procedures result, respectively, in
anticipation or continuation of a main material, and are important for the
smoothness of a succession in terms of the law of good continuation.
The very presentation of a main material may be more or less suggestive. Obviously, the main material will appear with the greatest force and
brightness if it constitutes the only material of a given timbre segment, as
in the case of a sound generator constituting a reduplication of the same
material (for example, "mm" represented by gongs, cymbals, and piano
strings played with wire brushes). On the other hand, the introduction of
other materials, which combine with the main material category, will
result at the same time in a dimming of the latter's characteristic timbre.
Of course, both "dimming" and "brightening" of the main timbre can proceed either gradually as a succession of slight changes or abruptly by
juxtaposition of contrasting segments. It is noteworthy that the aforementioned possibilities of timbre modulation, though conditioned by the
timbre system, are not rigorously governed by it. Rather, they are subject
to free choices made by the composer and express his strategy-some
times tending to sharp, contrasting juxtapositions, at others to soft transitions and nuances. It is in the realm of strategy, not of system, that one
can explain the disparity between the Dimensions of Time and Silence,
operating with a pastel palette of color nuances and penetrations, and
the glaring Fluorescences. The very choice of a material opposition for a
given piece, which marks the poles of its timbral spectrum, is also a matter of compositional strategy.
As an illustration of the above discussion, let us consider Polymorphia, the most outstanding of Penderecki's early pieces.9 This composition of classical proportions is based on an opposition marked by the
material categories of metal and wood. The analysis of the timbral course
traced by Polymorphia is summed up in the diagram shown in Figure 8.
449
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U 2~(3~Y(3) (3 403 C4
(3)
i2 w
3
4
(1
he
,.
n
ii
|(2(~3)~U (
W
450
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tapped with the bow or the chair with the nut, legno battuto play
as the main materials of the same segment (42-45). In this way the timbral course of the Polymorphia assumes a three-part, ABA form.
The timbre system, whose rules are presented briefly in this article,
governs the organization of sound color in eight pieces of Krzysztof Penderecki: Anaklasis for 42 strings and percussion (1959-60), ThrenodyTo the Victims of Hiroshima for 52 strings (1960), String Quartet No. 1
(1960), Dimensions of Time and Silence for mixed choir, strings and percussion (1960-61), Fonogrammi for flute and chamber orchestra (1961),
Polymorphia for 48 strings (1961), Fluorescences for orchestra (1962),
and Canon for string orchestra and tape (1962). It was thus employed by
Penderecki for just three years: from 1960 until 1962. Beginning with the
St. Luke's Passion (1963-66), and in later works, the composer abandoned
451
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ers, which very often led to sharp conflicts, protests, or even mutinies of
orchestras. One needs only to mention the famous scandal during the Fif-
teenth Music Festival in Venice, when-in spite of Bruno Maderna's persuasion-the renowned orchestra RAI-Radiotelevisione Italiano refused
to play Threnody. Such events created a climate unsympathetic to Penderecki's early scores and discouraged frequent performance. Renunciation of the timbre system, though resulting in the loss of a strict control
over sound color, solved all these problems and provided the composer
easier access to the musical market.
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453
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NOTES
1. To clarify the theoretical claims of my article, it may be necessary to emphasize
that, rather than offering one of several possible hypothetical theories about the
timbral organization of Penderecki's works from 1960-62, it provides a reconstruction of the compositional system he employed. The full system, presented
broadly in my doctoral dissertation (Mirka 1997), consists of two halves called
respectively the basic system and the timbre system. Having elaborated upon my
reconstruction, I consulted with Penderecki in April 1995, who confirmed via personal communication that it corresponds with the procedures he actually used in
the process of composition.
2. The first to use this term was J6zef M. Chominiski. He later gave a broad theoretical description of what he called the "sonoristic regulation of musical form,"
which he extended onto any sort of contemporary music containing non-traditional means of sound production (Chomitiski and Wilkowska-Chominiska 1983,
126-153). More specifically, the noun "sonorism" and the adjective "sonoristic"
are used in Polish musicological writings for the avant-garde sound-mass music
of the 1960s that was composed by Penderecki, as well as Wojciech Kilar, Henryk Mikolaj G6recki, Witold Szalonek and others.
3. As is well known, in the construction of contemporary instruments natural materials have frequently been replaced by synthetic substances, especially in the case
of percussion instruments. But this process of technological progress was not as
advanced in the early 1960s. It is irrelevant for Penderecki's timbre system as long
as the synthetic materials preserve the acoustical properties of natural materials.
4. Hardly anyone remembers that the Polish premiere of Anaklasis took place during
"Jazz Jamboree," the most important Polish festival of jazz music organized in
Warsaw to this day. Penderecki's interest in jazz is evinced also by Actions for
free-jazz orchestra, composed a few years later (1971).
5. The effects meant here include striking the strings with the palm of the hand sul
tasto, tapping the sound board with the fingertips, rubbing the sound board with
the open hand, and tapping the strings between bridge and tailpiece with the fingers (con dita).
6. This term was used for the first time by Marian Wallek-Walewski in his article "W
454
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illusion...; you pay attention only to new elements, although in my piecesbesides new articulatory means-there are also several older ones" (Zieliniski 1963,
8). He explained the relation of the new sound effects to traditional timbres in the
following way: "Occasional non-instrumental noises only supplement the orchestral timbre as coloristic retouching and are adjusted to that orchestral timbre." In
the course of a discussion closing the seminar on his output, organized in 1975 in
Krak6w, the composer stated the same idea even more laconically: "For me, there
has never existed any difference between noise and a sound [of definite pitch]"
([Discussion] 1976: 46). These two notions were used-imprecisely-at the time
as synonyms of sounds produced in a new and traditional way, respectively.
9. In my dissertation (Mirka 1997) the reader will find further analyses of full com-
positions using the terms presented in this article: Anaklasis (186-188), Dimensions of Time and Silence (205-208), String Quartet No. 1 (226-228), Fluores-
1997. Penderecki's use of the basic system in St. Luke's Passion, as well as its symbolic and expressive significance in that composition, is discussed in Mirka 2002.
WORKS CITED
Chomifiski, J6zef M. and Krystyna Wilkowska-Chomifiska. 1983. Maleformy instrumentalne. Formy muzyczne L Krak6w: Polskie Wydawnictwo Muzyczne.
Akademia Muzyczna.
. 2002. "Passion according to Penderecki." In: Siglind Bruhn, ed., Voicing the
Ineffable. Hillsdale, NY: Pendragon Press.
Sadie, Stanley, ed. 1980. The New Grove Dictionary ofMusic and Musicians. London:
Macmillan.
455
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456
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