Page 293 - Vinkler, Jonatan, in Jernej Weiss. ur. 2014. Musica et Artes: ob osemdesetletnici Primoža Kureta. Koper: Založba Univerze na Primorskem.
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ms of musical architecture in polish contemporary music
Example 4. Witold Lutosławski, Łańcuch II (Chain II) (Kraków: PWM, 1996), 16.
generators when they play in the high registers in piano dynamics with special
articulation of flageolets and sul ponticello. It brings an effect of clanging and
ringing around, sparkling and shiny twinkling sounds which are full of hues
and shades exploring on several levels.22
The idea of sound contemplation can be observed in the first phrases of
a composition already. The violin solo designs the spaces between high and
low registers by a motive of seconds in scenes crescendo-piano with an exempti-
on and descent melody accented by staccato (p. 3-5 in a score). This fragment
is highly diverse in the area of sound colours and plasticity of musical pro-
22 Paja-Stach, op. cit., 130.
291
Example 4. Witold Lutosławski, Łańcuch II (Chain II) (Kraków: PWM, 1996), 16.
generators when they play in the high registers in piano dynamics with special
articulation of flageolets and sul ponticello. It brings an effect of clanging and
ringing around, sparkling and shiny twinkling sounds which are full of hues
and shades exploring on several levels.22
The idea of sound contemplation can be observed in the first phrases of
a composition already. The violin solo designs the spaces between high and
low registers by a motive of seconds in scenes crescendo-piano with an exempti-
on and descent melody accented by staccato (p. 3-5 in a score). This fragment
is highly diverse in the area of sound colours and plasticity of musical pro-
22 Paja-Stach, op. cit., 130.
291
