Page 289 - Vinkler, Jonatan, in Jernej Weiss. ur. 2014. Musica et Artes: ob osemdesetletnici Primoža Kureta. Koper: Založba Univerze na Primorskem.
P. 289
ms of musical architecture in polish contemporary music
• Sphere of melody – on the Panufnik’s triad in transpositions, ro-
tations and reflections,
• Sphere of dynamic – operating of dynamic values from pp-p-f-ff
in low and high culminations of ff and symmetric flows crescendo
(pp-ff ) i diminuendo ( f-p-pp),
• Sphere of tempo – in slow and fast tempo in graduated phases (np.
allegro, molto allegro; andante, poco andante)
• Sphere of structure – in the area of development and transforma-
tion, patterned after the modified sonata form.
Composer distinguished also the additional seventh sphere of the or-
chestral sound and he underlined that every under sphere of sounds has its
specific tone colour and timbre. The key to forming them and planning the
orchestra layout is the circular shape of a sphere.20
On the example of Sinfonia di Sfere one can notice how the planned
content of composition gives the starting point to its spacious form. Panu-
fnik is a kind of composer who creates very carefully the “border lines” and
“edge conditions” to his compositions, which can be treated as compositio-
nal lines. Narration of Sinfonia di Sfere in its static convention of Panufnik’s
idea of symphonic form is operating in the depth study area. It is done by the
different plans of dimension, height, rhythm and sound colours formed with
blocks of orchestral instruments which are classically composed in groups of
strings, winds and percussion. The whole form of Sinfonia is designed accor-
ding to the effect of passing on the way directed by the ray of the sphere.
It is worth mentioned that Panufnik when constructing the space of
its works refers to the geometric rules of sphere. They can reflect the idea of
a plan of the composition which flows from the inner part of the work to the
outer one. According to it a sphere is a collection of all the points, a geome-
trical place in some metrical space, which are all situated in the same distan-
ce from the sphere middle place, which is called the core of a sphere. This dis-
tance is a ray of the sphere. References to the sphere construction become the
rules of sounds selection and combination of them in the musical process in
this symphony.
One of the most important rules here is the core concept. It is a central
point of the sphere with the lines forming a radial net finding the crowing in
the surface of a sphere. It has its plan in the substantial inner part of the com-
20 Panufnik, Panufnik o sobie, 342-343.
287
• Sphere of melody – on the Panufnik’s triad in transpositions, ro-
tations and reflections,
• Sphere of dynamic – operating of dynamic values from pp-p-f-ff
in low and high culminations of ff and symmetric flows crescendo
(pp-ff ) i diminuendo ( f-p-pp),
• Sphere of tempo – in slow and fast tempo in graduated phases (np.
allegro, molto allegro; andante, poco andante)
• Sphere of structure – in the area of development and transforma-
tion, patterned after the modified sonata form.
Composer distinguished also the additional seventh sphere of the or-
chestral sound and he underlined that every under sphere of sounds has its
specific tone colour and timbre. The key to forming them and planning the
orchestra layout is the circular shape of a sphere.20
On the example of Sinfonia di Sfere one can notice how the planned
content of composition gives the starting point to its spacious form. Panu-
fnik is a kind of composer who creates very carefully the “border lines” and
“edge conditions” to his compositions, which can be treated as compositio-
nal lines. Narration of Sinfonia di Sfere in its static convention of Panufnik’s
idea of symphonic form is operating in the depth study area. It is done by the
different plans of dimension, height, rhythm and sound colours formed with
blocks of orchestral instruments which are classically composed in groups of
strings, winds and percussion. The whole form of Sinfonia is designed accor-
ding to the effect of passing on the way directed by the ray of the sphere.
It is worth mentioned that Panufnik when constructing the space of
its works refers to the geometric rules of sphere. They can reflect the idea of
a plan of the composition which flows from the inner part of the work to the
outer one. According to it a sphere is a collection of all the points, a geome-
trical place in some metrical space, which are all situated in the same distan-
ce from the sphere middle place, which is called the core of a sphere. This dis-
tance is a ray of the sphere. References to the sphere construction become the
rules of sounds selection and combination of them in the musical process in
this symphony.
One of the most important rules here is the core concept. It is a central
point of the sphere with the lines forming a radial net finding the crowing in
the surface of a sphere. It has its plan in the substantial inner part of the com-
20 Panufnik, Panufnik o sobie, 342-343.
287
