An Analysis of Witold Lutoslawski's 'Variations on a Theme ...

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An Analysis of Witold Lutoslawski's "Variations ona Theme by Paganini" for Two Pianos and anOriginal Composition "Concerto for Two Pianosand Orchestra".Ling Chao ChenLouisiana State University and Agricultural & Mechanical College

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AN ANALYSIS OF WITOLD LUTOSLA WSKI'S "VARIATIONS ON A THEME BY PAGANINI" FOR TWO PIANOS

ANDAN ORIGINAL COMPOSITION

"CONCERTO FOR TWO PIANOS AND ORCHESTRA"

A Dissertation

Submitted to the Graduate Faculty of the Louisiana State University and

Agricultural and Mechanical College in partial fulfillment of the

requirements for the degree of Doctor of Musical Arts

in

The School of Music

byLing Chao Chen

B.M., Pittsburg State University, 1985 M.M., Pittsburg State University, 1987 M.M., Pittsburg State University, 1988 Ed.S., Pittsburg State University, 1991

December, 1996


UMI Number: 9712850

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ACKNOWLEDGEMENTS

To fulfill one's dream, not only takes hard work, but also requires the good

luck of having inspiring mentors and supportive friendships. The completion of this

degree study and the satisfaction of the learning process have required as much human

kindness as one can possibly receive in a life time. My deep appreciation to the list of

valuable persons who taught me, inspired me, challenged my thoughts, and blessed me

with friendship is endless. I can never list them all.

First of all, I would like to thank Dr. Dinos Constantinides who taught me the

value of good composition, the significance of self-image; and whose unfailing

guidance, continuous feedback and thoughtful consideration have been the greatest

treasure of my learning process at LSU. Dr. Stephen David Beck's enthusiasm of

teaching in the world of electronic music, computer generated music, and music in the

twentieth century has opened a new door for my philosophical thinking towards music

esthetics. Dr. David Smyth's persistence with courage and grace in pursuing precision

in defining analysis has taught me good writing skills, and most of all, the importance

of scholarly thinking. Also, thanks to Dr. Wallace McKenzie's introduction to the

beauty of American music that has stimulated my interest in a more broad aspect in such

a way that I always try to digest the fascinating American tradition.

Thanks go to the supportive faculty at PSU, where my musical insight was

nurtured. Professor John MacKay's unique philosophical teaching and thinking has

taught me the combination of emotion and logic in musical interpretation. Most of all,

he showed me the importance of music as a whole. Professor Richard Cook's patience

has guided and developed my freedom of thinking and imagination. Dr. Gene Vollen's

confidence in me has given me the tremendous encouragement to challenge the world of

knowledge, and to enrich my mind and the growth of my personality.

ii


Thanks also go to friends who support me with their kindness and

thoughtfulness. Kenzo N. Chi, an humanistic artist/designer, who is always willing to

support and share her distinctive philosophy of life and living. Cassandra Fulmer is a

remarkable trombonist, whose generosity and enormously caring personality have

cheered me and "lured" me to a positive state from negative distractions. Tina Show

and Nam Young are two outstanding pianists, whose wits are always surprisingly

helpful and supportive and for whom this double piano concerto was written. A

devoted geographer/teacher, Shu-Jiean Hsu, whose sensibility and encouragement have

always confirmed me and reminded me of my ability and capability. Wei-Hsing Chiu,

a sharp computer programmer, whose keen analytical insight always honestly reveals

and solves my problems in terms of the practical world, has helped me open another

door to a more balanced life. Thanks also go to many other friends. It is their valuable

friendship that made me truly understand "a friend in need is a friend indeed."

I owe an immense debt to my family that has been an important "magnet" in my

life, a lighthouse always guiding me from being lost. Thanks to their unconditional

understanding and support I have been able to do what I would like to do in music. I

may never be able to live up to what the tradition has expected of me, yet I have tried

hard to pave my own path with no regret My love and deep appreciation goes to my

siblings back home. And, special thanks to my parents, for their unique philosophy of

life that allows me to have the opportunity to challenge life, to seek my dream, and to

undertake unconditional work. They deserve my deepest appreciation and respect.


TABLE OF CONTENTS

ACKNOWLEDGEMENTS------------------------------------------------------------ ii

ABSTRACT------------------------------------------------------------------------------- v

PARTIAn Analysis of Witold Lutoslawski's "Variations on a Theme by Paganini" for Two Pianos------------------------------------------------------- 1

CHAPTER1 Introduction------------------------------------------------------------- 1

2 Comparison: Paganini's Theme and Lutoslawski's TwoPiano Version---------------------------------------------------------- 4

3 Variations I, II, and III--------------------------------------------------11

4 Variations IV, V, and V I----------------------------------------------- 17

5 Variations VII, VIII, IX, and X ---------------------------------------25

6 Variations XI, XII, and Finale---------------------------------------- 33

7 Conclusion--------------------------------------------------------------- 40

BIBLIOGRAPHY------------------------------------------------------------------------ 43

PART IIAn Original Composition, "Concerto for Two Pianosand Orchestra-------------------------------------------------------------------- 44 I -------------------------------------------------------------------------------------45I I --------------------------------------------------------------------------------------------101H I---------------------------------------------------------------------------------- 121

VITA--------------------------------------------------------------------------------------- 164

iv


ABSTRACT

The dissertation is divided into two parts. Part I is an analysis of Witold

Lutoslawski's "Variations on a Theme by Paganini" for Two Pianos. This consists of a

detailed analysis preceded by a brief introductory discussion of Witold Lutoslawski's life

and musical background. The composer has followed Paganini's model faithfully as far as

the basic thematic material is concerned. However, his addition of supporting harmonies,

imitative and free countermelodies, and rhythmical accompaniments make this setting an

original composition.

This analysis focuses on harmony, dynamics, counterpoint, rhythm, form and

general texture of the piece. The main issues to be discussed are Lutoslawski's

manipulation of the original subject matter, his development and usage of the above

mentioned techniques. In harmony, the usage of polytonality, quartal and whole-tone

harmony, tritone and third relationships are discussed. Graphic analyses illustrate the way

dynamics shape the entire piece. Although Paganini's theme was written for solo violin,

Lutoslawski makes his version extremely contrapuntal by incorporating canon (both strict

and inversion) between and within piano parts. Rhythmically, Lutoslawski follows the

original version, but introduces some syncopations and off beat accents. Tempo, dynamic

markings, texture and density make the piece seem to fall into three parts.

The second part of this dissertation is an original composition,"Concerto for Two

Pianos and Orchestra." This three movement work is approximately twenty-five minutes in

length. The tempos of the movements are fast-slow-fast. The entire piece includes

quotations of Taiwanese folk tunes. The first movement's tempo scheme is a palindrome:

(A) J=69, (B) J =144, (C) J=100, (D) J =69, (C') J=100, (B') J=144, and (A') J=69.

It has also elements of a Sonata form regarding thematic materials. A is the introduction,

B includes two contrasting themes, C and D are developmental, and B'-A' is the

recapitulation. The second movement is through composed. It employs quotations in a

v


free manner. Movement three is a set of variations using a folk tune as the theme. In

addition to the two solo pianos, the orchestral instrumentation includes the following:

winds (2222), brass (2221), one timpanist, two percussionists, and strings (minimum

88642).


PART I

AN ANALYSIS OF WITOLD LUTOSLAWSKI'S

VARIATIONS O N A THEM E B Y PAGANINI FOR TWO PIANOS


PART I

AN ANALYSIS OF WITOLD LUTOSLAWSKI'S "VARIATIONS ON A THEME BY PAGANINI" FOR TWO PIANOS

CHAPTER I

INTRODUCTION

Witold Lutoslawski was bom on January 25th, 1913 in Warsaw. He started piano

lessons at the age of six. Although he took violin lessons later, his first degree at Warsaw

Conservatory was in piano, which he studied with Jerzy Lefeld and completed in 1936. In

the following year, he completed another degree in composition with Witold Maliszewski. *

During the war, Lutoslawski was forced to make his living playing music at

Warsaw's cafes because of the German occupation and the paralysis of official musical life

in Poland. He appeared as a soloist, sometimes as an accompanist for artists such as the

violinist Eugenia Minska, the soprano Ewa Bandrowska-Turska, and the mezzo-soprano

Janina Godlewska.2

During this time, much of his piano duo playing was done with his colleague

Andrzej Panufnik, a composer and conductor. Their repertoire consisted of arrangements

of serious works, rather than light cafe music. The Variations on a Theme by Paganini for

Two Pianos was written for such a collaboration during 1941.

This set of variations has achieved its place in the duo-piano repertoire. Unlike the

free variation sets by Brahms and Rakhmaninov, Lutoslawski's composition follows

Paganini's original variations (from the twenty-fourth Caprice, Op. 1 for solo violin) quite

closely. Each variation is translated skillfully into the keyboard idiom. Lutoslawski wrote

the first piano part for himself, and the second piano part for Andrzej Panufnik.3

The purpose of this essay is to analyze the variations and to explore their

* AWL, Program note in Witold Lutoslawski, Variations On A Theme By Paganini, (Boca Raton, Florida: Masters Music Publications, Inc. 1993).2 Steven Stucky, Lutoslawski and His Music. (London: Cambridge University Press, 1981), 16.3 Steven Stucky, Lutoslawski and His Music. (London: Cambridge University Press, 1981), 16-17.

1


harmony, melody, counterpoint, dynamic contrast, meter, and texture. The contents of this

essay will compare and contrast Paganini's original variations and Lutoslawski's

transcription and discuss Lutoslawski's harmonization, management of the texture in both

pianos as well as his treatment of counterpoint.

Lutoslawski's variations follow Paganini's model closely. The Caprice, Op. 1, is

a classical variation form, in the tradition of J. S. Bach (e.g. the Goldberg Variations),

Beethoven (e.g. the Thirty-Two Variations), and Brahms (e.g. Variations on a Theme by J.

Haydn), yet he incorporates twentieth century techniques such as the polytonality, parallel

fifths, and tritone relationships which make the piece sound characteristic of Lutoslawski.

He employs such techniques even in the opening theme, the music then quickly progresses

into a light contrapuntal style with a countermelody in Var. I, contrasted by a thicker texture

in Var. II. The counterpoint, parallel motion, and tritone relationships continue in Var. Ill

as well, but the texture is somewhat thicker and the style more legato in character. An F^ at

the end of Var. Ill presents a deceptive cadence leading into Var. IV. This along with a

D in Var. IV represents an added note harmony. In contrast to Vars. IV and VI, Var. V

incorporates less counterpoint and the melodic line is interlocked and divided between both

piano parts.

Var. VI is the only slow variation in the entire work. It is a peaceful interlude that

is isolated from the other variations due to its tempo and the fact that it is almost a complete

recomposition of Paganini's sixth variation. Lutoslawski incorporates strict canon by

inversion in both piano parts throughout; this is the first time that both piano lines intersect

each other's registerally.

To resume to the faster tempo, Lutoslawski employs a two-measure "vamp"

between Vars. VI and VII, which serves as a bridge and sets up a chromatic neighbor

figure in continuous motor rhythm throughout Vars. VII and VIII. He then introduces a

whole-tone scale in Vars. VII, VIII, and XI, which (with additional material) actually


produces all twelve pitch classes. In Vars. IX and X, the triplet motor rhythm is reduced to

auxiliary note dyads, meaning there is an alternation between the intervals of a perfect

fourth and fifth. In order to reduce the momentum (which has been building steadily since

Var. VII), the original theme is augmented in Var. X, making it twice as long. Also, the

tritone relationships become more strongly accentuated throughout the variation as part of

the accompanying figure in Piano I. The whole-tone scale which has been built up from

Var. VII is very evident in Var. XI.

In ending the piece, Lutoslawski chooses not to follow Paganini's Finale but

instead restates the original theme in augmented form to serve as a recapitulation.

Lutoslawski then ends with Paganini's original Finale, incorporating it into a coda, thus

producing an exciting conclusion. However, Lutoslawski's addition of supporting

harmonies, imitative and free countermelodies, and rhythmical accompaniments make this

setting a different piece entirely; the following analysis will illustrate this in further detail.

For purposes of discussion, the variations will be grouped as following: Vars. I, II, III;

Vars. IV, V, VI; Vars. VII, VIII, IX, X; Vars. XI, XII and Finale.


CHAPTER 2

COMPARISON:

PAGANINI'S THEME AND LUTOSLAWSKI'S TWO PIANO VERSION

Paganini's original theme is a lively unaccompanied dance for violin in the key of A

minor, labeled Quasi Presto. It is divided into two even sections of eight measures. The

first section consists of one four measure phrase played twice, implying tonic and dominant

harmonies in alternation (see example 1). The second part is an eight-bar phrase with no

a>

* H H i H i S i S i

a : i

Example 1: Paganini's original theme (mm. 1-4) and implied harmonies

repeat. It opens with the harmonic sequence V/iv, iv, V/III, III in mm. 5-8. Beginning in

m. 9, the harmonic motion progresses through a leading-tone diminished seventh chord,

tonic triad, an (Italian) augmented sixth chord ending with an authentic cadence (see

example 2).

In Lutoslawski's two piano version, the opening theme is labeled Allegro

Capriccioso and a metronomic marking is given (J =ca 144). Melodically, the first piano

follows the original model very closely (compare the two versions in example 3).

Lutoslawski writes out all eight measures instead of repeating the first four bar section.


5

Example 2: Paganini's original theme (mm. 5-12) and implied harmonies

Because the accompaniment in Piano II is constantly changing, mm. 5 and 6 are displaced

and equal the repeat of mm. 2 and 3 an octave lower (see example 3). In the second part,

Lutoslawski adds dynamics, sub sf, f molto s f and diminuendo, which are not included

in the original theme (see example 3).

Harmonically, Piano I adheres closely to the original theme in the first part, and

Piano II serves as an accompaniment, but in a non-traditional manner. Lutoslawski uses

dissonant harmonies in Piano II to create a mysterious and restless quality. The

combination of Piano I and Piano II produces a feeling of polytonality. For example, in m.

2, Piano II has an chord against Piano I's E major chord; in m. 3, Piano II has a D

major chord with an added sixth against Piano I's A minor chord. The final chord in m. 4

is a pure E major triad—the expected traditional dominant. In m. 8, however, this is

replaced by C major and D major triads (see example 3), whose roots create a stepwise


6

Example 3: 1) Original Paganini theme

Allegro caprictioso (J.ca u-0

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Example 3: 2) Lutoslawski's two piano version (example contd.)


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r*

mollo*/pocosf

ascent to the opening polychord of the next section (see example 4). The voice leading and

chord succession are non-traditional, and most dissonances are not prepared and resolved

in the traditional way. The parallel open fifths in the bass at the beginning recur later (see

m-© (D ©

Example 4: Lutoslawski's version Piano II mm. 7-9 rising steps

Piano I mm. 9, 11, 13, 14) and throughout the piece. From m. 9, the tritone relationship,

which plays an important role in the entire piece begins to apply. A series of tritone

relationships are found beginning in m. 9, for example: Piano II major chord against

Piano I A major chord; m. 11, Piano II D*3 major chord against Piano I G major chord; m.

13, Piano II major chord against the F major chord in Piano I and m. 14, Piano II

major chord against the E major chord in Piano I (see example 5). From mm. 9-16, Piano

II provides a stepwise bass line, E^ (m. 9)--D*3 (mm. 10-11)—C*3 (mm. 12-13)--B'3


Example 5: Lutoslawski's version (Theme mm. 9-14)

(m. 14)— (continuing to the second ending tenor voice, m. 15b)—A (the second

ending tenor voice, m. 16b), and simultaneously, in mm. 15b-16b, the bass line provides

F-E-A as an authentic cadence (see bass outline in example 6). In m. 15a, Piano II has a

G9-b5 against an Italian sixth chord in Piano I. The seventh (B-natural) is retained in the

tonic resolution, which produces a jazzy characteristic (see example 7). Just as the left

hand turned toward C in m. 8, it again shifts in this direction in m. 15a of the first ending.

The repeat in the second part does not exist in the original theme. Lutoslawski concludes

the first ending on dominant, and the second ending on tonic. In m. 12, he begins to

combine the two harmonies of both pianos together. The E*3, in Piano I, (instead of the

original E-natural) together with Piano II's right hand, gives an F*? sonority (see

m. (D © © © (?I£) @)

6 (=augmented sixth, respelled)

Example 6: Piano II mm. 9-16b


9

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Example 7: Lutoslawski's version mm. 15a-16a

example 8). The and together are a preparation for the E*5 in m. 13 Piano II. Also,

in mm. 13 and 14, the tritone relationship continues. He uses an F major in Piano I against

a cb major in Piano II, which is different from the original diminished seventh chord; and

in m. 14, Piano I's E major chord sounds against the major chord in Piano II.

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Example 8: Lutoslawski's version mm. 12-13


10

Example 9: Reductive sketch of the theme


CHAPTER 3

VARIATIONS I, II, AND III

In Vars. I, II, and III, parallel open fifths from the opening theme are constantly

employed in the bass line accompaniment throughout these three variations (see example

10). At the beginning of the second section of Var. I, the open fifths in Piano II move in a

Var. I

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chromatic.

Var. II

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Var. Ill

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Example 10: Parallel open fifths in Vars. I, II, and III

11


12

chromatic descending bass line reaching an F pedal in m. 9 at which point three measures

of tritone polyharmonv (C^=B against F) occur (see example 11). In Var. II, parallel Fifths

freely occur without interruption throughout the variation. In Var. Ill, the parallel fifths

move to the bass line of Piano I and occur throughout the entire variation (see example 10,

Var. III).

In addition to parallel fifths, tritone relationships also represent a development of

ideas (i.e. of Lutoslawski's ideas, not Paganini's) from the theme. For example, in Var. I,

there is a collision between the F and C*5 triads in m. 9 which is reminiscent of m. 13 of the

theme. This collision not only happens between the two pianos but also within Piano II

itself (see example 11). This tritone relationship continues throughout the first part of Var.

II between the two pianos (see example 12), where the and Q# neighboring harmonies

of Piano I clash against the G and D harmonies in Piano II. In Var. Ill, tritone-related

Theme m. (T|)

Example 11

Var. I

X

t

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1

harmonies occur on the final beats of mm. 1,3, 5,7, 10, and 11, cadencing on F^> (see

example 13), which s e rv e s as a connecting added note harmony between Vars. Ill and IV.

rn~ (D ©9v*----------- (& ® © d>

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Example 12: Var. II


13

Example 13: Var. Ill

Although Lutoslawski employs non-traditional harmonic progressions throughout

Vars. I, II, and III, there are many other elements that have also been changed. These

changes may represent Lutoslawski's interpretation (or re-reading) of Paganini's original

version. Sudden changes of dynamics which include a wide range of crescendos,

diminuendos and accents as well occur frequently throughout Vars. I and II. Var. Ill,

however, employs only one dynamic level ( f f ) throughout the entire variation.

For example, the character of Var. I is not only lighter with staccato triplets but is

also very contrapuntal in texture. It is the first time that the two pianos have independent

contrapuntal lines, and most of the time, their lines are in contrary motion (see example

14). This counterpoint continues in Var. II between both pianos (see example 15),

m-© © (3) ® ® ® © ®

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II

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Example 14: Var. I


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Example 15: Var. II

although here the connective lines move in parallel motion. There is a change in tempo

(Meno tnosso J =ca 100) and the texture becomes denser due to the thirty-second-note

chords in Piano I. As in Paganini's original theme, Lutoslawski writes out the repeat for

the first section, using contrasting higher octave registers throughout the rest of the

variation with the exception of the last measure. This heavy texture is actually increased in

Var. Ill in both piano parts with f f throughout. Here, the melody is transferred to Piano II

in the upper register, and at the same time, Piano I becomes an accompaniment. The

syncopated rhythms here will become more prominent in later variations (especially Vars.

VI, VII, and XI).


15

Var. I

Chromatic

Var. II

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Example 16: Reductive sketches of Vars. I, II, and III (example contd.)


16

Van III

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CHAPTER 4

VARIATIONS IV, V, AND VI

In Var. IV, Piano II retains the primary melodic role. This role shifts to Piano I in

Van V and returns to Piano II in Var. VI. Melodically, Vars. IV and VI are highly

contrapuntal. In Var. IV, the melody (played by Piano II) is supported by counterpoint in

contrary motion (played by Piano I). Also, in Var. VI, the two lines are a strict canon by

inversion (see example 17). Var. IV is in a fast tempo (J =100) and is articulated staccato.

This is the opposite of Var. Vi's slow tempo (J>=80) which is very lyrical in character.

r r

Example 17: Var. VI—strict canon by inversion

17


Between these two contrapuntal movements is the chordal Var. V. The loud

dynamic level of Var. V (/and louder) stands out against the two softer variations

surrounding it. Var. I V's use of crescendos and diminuendos create a smoother dynamic

change, although the fp (m. 13), which is a sudden change of dynamics, is also employed.

In Var. VI, the dynamic level does not exceed p . Also in Var. V, a new rhythmic pattern,

, is used instead of the nearly continuous sixteenth-note motion in both Vars.

IV and VI.

Polyharmony continues to be a feature in these three variations. In Var. IV, Piano

I's arpeggios along with Piano II's melody project the tonal center of A minor. The lower

D (mm. 1-2,5-6) and lower (mm. 3-4,7-8) behave as "added notes" contradicting the

harmonic structure of the original theme (a simple alternation of tonic and dominant) (see

example 18). Piano I's right hand serves as a countermelody, embellishing Piano II's

melody in contrary motion (see example 19). Beginning in m. 9, Piano II continues the

original theme and its implied harmonies, as shown in example 20. Piano I's right hand

maintains its countermelody role, however, the left hand's accented arpeggios create

polychordal effects against Piano IPs harmony. These polychordal effects are realized in a

very contrapuntal manner (see example 20), and end with a strong tonic cadence.

Example 18: Var. IV


19

1

I

Example 19: Var. IV

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Example 20: Var. IV—polychordal effects in a contrapuntal manner

In Var. V, the neighbor note figures and the implied harmonies of Paganini's

original version are shared between the two pianos. The three upper lines of the theme are

conventional (tonal), but harmonies with the bass line of Piano II asserting the key of F

major (see example 21). This poly harmony becomes more intense from mm. 9-15. Here

the low bass line is doubled, Piano II's right hand follows Paganini's original harmonies,

but the bass line adds a series of falling fifths implying a different analysis, with each chord

acting as an altered applied dominant to the next as detailed in example 22. The prominent

tritones continue from Var. IV Piano I's left hand E-A& (mm. 3-4,7-8) and between the

two pianos as shown in example 23.


Example 21: Var. V—melody shared by both pianos in different registers

Example 22: Var. V—falling fifths and altered applied dominant chords

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Example 23: Tritones in Var. IV

Repeats are written out in Vars. IV and V for different reasons. In Var. IV, it is to

provide two different endings for Piano I's right hand in the high register; while the left

hand remains in the same arpeggiated pattern (see example 24). In Var. V, it is for the

higher register of Piano I's right hand, and the lower register in Piano II's left hand (see

example 25). Also, note the similarity between the melody which begins on the second

beat of m. 14 and that in mm. 7-8. Unlike mm. 7-8, in which the melody goes up, the


21

I

Example 24: Var. IV (mm. 3-4,7-8,14-16)

Example 25: Var. V (mm. 1-8) (example contd.)


? ?

melodic figure in mm. 14-15 contrapuntal surrounds an A, which is positioned at a cadence

point (see example 24). This leads to the next variation (Var. V) whose melody hovers

around an E, with upper and lower neighbor tones (see example 25).

Paganini's Var. VI is forte, and gives no indication of a slower tempo. However,

Lutoslawski's Var. VI serves as the slow movement of the entire work. It sounds isolated

from the rest of the variations because of its tempo and character. The tempo change (poco

lento J*=80) and the soft and smooth legato line give it the character of a slow movement

or a peaceful interlude. It is also the first time that two piano lines cross each other. In

mm. 5b-10, there are hints of the whole-tone scale and modes (see example 26). Mm. 5b-

10 serve as a preparation for the whole-tone scale in the next variation. At this point,

Lutoslawski's Variations depart most strongly from the controlling overall tonic, A minor.

The move to E*3 (a tritone distant) reflects the continuous emphasis on tritones in the local

polyharmonies but now on a grander scale. E*3 at the end is a connection to the two-

measure vamp. Melodically, this variation is in parallel thirds throughout.

%

Example 26: Var. VI


23

To prepare for the next variation, Allegro molto ( J =100), Lutoslawski uses a

two-measure "vamp": it consists of a chromatic figure in triplets in the right hand of Piano

II against its left hand (polyharmony) (see example 27), which serves as a link between

Vars. VI and VII, and it also serves as a modulation for the key of E*3 in Var. VII. The key

returns to A minor later in Var. VIII.

t simile

Example 27: Vamp {Allegro molto J =100)

Var. IV

cd © @ <$ ® ® @ cia c?)(j9

Example 28: Reductive sketches of Vars. IV, V, and VI (example contd.)


24

Var. VI

m. G

— D


CHAPTER 5

VARIATIONS VII, VIII, IX, AND X

After the slow tempo of Var. VI, Var. VII returns to a faster tempo of Allegro molto

( J =100). A two-measure vamp located between Vars. VI and VII, a very important

feature, serves as preparation for Vars. VII and VIII. This triplet chromatic pattern (the

right hand of piano II) against an E*3 open fifth (the left hand of Piano II) continues

throughout Var. VII. In Var. VIII (piano II), it is replaced by a diatonic triplet pattern (see

example 29). This feature eventually develops into a quartal pattern of alternating fourths

and fifths pattern in Var. IX (see example 30).

Var. VII Piano II: Chromatic

Var. VIII Piano II: Diatonic

W

Example 29: Vars. VII and VIII

25


26

m f

Example 30: Quartal figure in Var. IX

Harmonically, Var. VII features the whole-tone scale in Piano I mm. 3 and 4.

Although whole-tone segments appear earlier in the Theme mm. 9-13 Piano II and Var. Ill

mm. 5-8 Piano I, they were not prominent. Piano II continues this whole-tone texture

from mm. 5-12 as the bass moves from (m. 5) to (mm. 6-7) to B (mm. 8-9) to

(m. 10) and to E^ (mm. 11-12) (see example 31). In mm. 9-10, as the bass returns to E*3,

I 1

I 1

Example 31: Whole-tone feature in Var. VII

Lutoslawski employs a chromatic pattern B-C-D^-D-E^ (see example 31). Against this

whole-tone figure in Piano II, he creates a tritone relationship in Piano I, which produces a

whole-tone "canon" in both pianos (mm. 5-8) (see example 32). From mm. 9-12, the

melody moves back to the tonic.


Example 32: Var. VII—whole-tone canon and tritone relationships

In Piano I, the first section of Var. VIII follows the original harmonic structure

closely (i-V-i-V). Harmonically, in the second part, mm. 5-8, the two pianos correspond

to each other closely reproducing the sequence implied by the theme. However, from m. 9

to the end, Lutoslawski begins to emphasize the tritone relationship between the two pianos

and within Piano II itself (see example 33). In mm. 11-12, the chromatic figures in Piano

II conflict with the whole-tone features in Piano I (see example 33).

Example 33: Tritone relationships and whole-tone features in Var. VIII mm. 9-12


2 8

In Var. IX, the triplets are reduced to auxiliary note dyads (see example 30) to

accompany the theme in Piano II. Harmonically, the two pianos correspond to each other

in this variation. In the first section, the harmony is again a simple i-V-i- V alternation, but

the jazzy syncopations and s f dynamic accents give the variation a fresh sound. In the

second part mm. 5-8, the harmony falls into the auxiliary note resolution pattern. In mm.

5-6, Piano I employs, harmonically, the pitches G-D in the right hand and A-E in the left

hand. The right hand combination of G-D switches to the left hand in mm. 7-8. As the left

hand takes over the G-D the right hand changes to an F-C pattern (this occurs also in mm.

7-8). Two bars later, in m. 9, the right hand F-C moves to the left hand. This entire

progression is heard beneath the A minor descending scale passage of Piano II. Also, in

mm. 9 and 12 of Piano I, the right and left hand are exchanged, thus simultaneously

supporting the chromatics of Piano II in m.I2. This chromatic scale reaches the tonic A

in Var. X, which is the tritone of E*3, and begins the theme of Var. X. Also, the pitches D-

A (m. 12 of Var. IX Piano I left hand) continue and expand into a pedal tone in Var. X that

supports its melody in Piano II (see example 34).

Example 34: Var. IX Piano I mm. 5-12

Compared to Vars. VII and VIII, Var. IX is more active in its articulation, with

staccato all the way through. It also has huge dynamic changes (sf-p), while Var. VII and

VIII are more legato and softer in dynamics. The texture of Var. VII is thinner and the

range is smaller, but Var. IX has the thickest texture and the highest range, while Var. VIII

has the lowest range.


In order to slow the momentum (which has been building steadily since Var. VII),

the original theme (which is in Piano II) is presented in augmentation, thus doubling the

length of this variation. The repeated section is written out. The accompaniment in Piano

I, as mentioned earlier, is a continuation from Var. IX with the alternation of perfect

intervals (fourth and fifth) throughout the entire variation. The harmony implied by the

theme (Piano II) is the same as the original in A minor (i-V-i-V), but Piano I sets the pedal

tones D (mm. 1-6,9-14), F (mm. 7,15-16), A and C (m. 8) against it (see example 35),

again, as in earlier Variations.

Example 35: Pedal tones in Var. X

The second part of this variation begins in m. 17, where polychords occur. The

harmony of the augmented theme (in Piano II) changes to A major (V/iv) against Piano I's

left hand A minor chord alternating with an major chord, again displaying the familiar

tritone relationship. The theme, in m. 20, deviates slightly from the original. The

preceding four bar phrase is transposed to G in mm. 21-24. In mm. 24 the theme deviates

slightly from the original as it did earlier (see example 36). From mm. 25-32, Lutoslawski

changes the theme into 3 + 2 + 3 bar groups. Although the theme is changed from the

original, the harmonic structure remains similar to that of the previous two phrases (mm.

17-24). The pedal tone is moved from G to F and its tritone-related B triad is in Piano I's

left hand (see example 37).


Example 36: Var. X—theme deviation and tritone relationship

T.T.

Example 37: Var. X—3 + 2 + 3 bar groups

Dynamics gradually build up from a soft beginning, rising steadily from m. 8 to f f

at the end. Piano II's theme, most of the time, stays in the high register. Piano I's

accompaniment is more contrasting. From m. 24 (in Piano I), the right hand moves an

octave higher, and from m. 25, the left hand pedal note moves an octave lower, reaching

the highest and lowest notes in this variation. For its articulation, the theme is lyrical, but

the accompanying part in Piano I is very active with accents and staccatos. The dynamics

reach f f and the meter changes (4/4) for the next variation.


31

Var. VII:

m. © ® © @ ® ® 0 ® @ © © ©

r— CKramata'e.

Var. VIII:

Var. IX:

m. ©Var.X

•C O j

^3.

_ J8 ---

Example 38: Reductive sketches of Vars. VII, VIII, IX, and X (example contd.)


32

Var. X:

F ffedol “A — (— X) fbJekV

rf-t/ng 3nds

T-T-

A Pado.1


CHAPTER 6

VARIATIONS XI, XII, AND FINALE

Thematic material in Var. XI is again a departure from Paganini's original. The

high E's stand out from the melody (m. 1), but except for the arpeggiated figure in m. 2,

this does not closely resemble Paganini's music. The tempo marking, Piu mosso, is faster

( J =144) than previous four variations ( J =100). The dynamic level stays loud (ff) in

the first half which has a repeat sign, but it drops in the second half to allow dramatic

swells.

The polychords and tritone relationships continue in this variation. The composer

highlights the tritone relationship in both piano parts, thus creating strong polytonal effects.

Another important feature is the whole-tone scale, which was actually introduced earlier in

Var. VII. This whole-tone scale is projected by triads ascending stepwise from D to G$

(m. 1). Also, it serves as a bass foundation while the tritone relationship is presented on

the top (see example 39). Dense polychords occur in m. 5, above a whole-tone scale in

I£ I \ _Q ±_

- M f -

Example 39: Whole-tone scale and tritone relationships in Var. XI

Piano II's left hand G - A - B - which turns into a five-note grouping of sixteenth notes

(based on the whole-tone pattern) in m. 6 (see example 40). Mm. 7-8 are an exact repeat

33


of mm. 5-6, only transposed a major second lower with a 3/4 meter change for the next

phrase (see example 40). The whole-tone scale continues but moves to Piano I's left hand

• T.

© ©

8 - -

(J.T.-

Example 40: Var. XI mm. 5-8

against a tritone relationship in Piano II, which ends the variation with a glissando from E

to A. The original theme is then stated in augmentation, in Piano II, beginning where the

glissando from the previous variation ended (see example 41).

© © ©

v kv>V-r.f.

— — -r.f. v" V T.T. T-T.

*------------- w.t. -----

Example 41: Var. XI mm. 9-12


Before reaching Paganini's original Finale, Lutoslawski highlights the original

theme for sixteen measures in what amounts to an additional variation. This theme is

played by Piano II, with the repeat written out In the accompanying part in Piano I, A

minor and C$ major neighboring chords alternate in triplets throughout mm. 1-2, then

change to D major and major neighboring chords alternating triplets in mm. 3-4; then it

repeats the same thing throughout m. 8. Simultaneously, the downbeat pedal chords, F

major (m.I), D major (m.3), F major (m. 5), D major (m. 7) are sustained for two

measures each (see example 42).

( J r d s a g a i n )

Example 42: Var. XII mm. 1-8

From m. 9, a similar structure continues. The low tonic pedal tone in Piano I is

sustained in mm. 9-10, mm. 11-12, then diminishes to one measure. In m. 13, a

chromatic ascent begins, reaching C in m. 15, then continuing chromatically to the

dominant in m. 16. The accompaniment remains in triplets, now scattered throughout the

various registers. The theme remains in Piano II but changes slightly in mm. 11-16, at first

introducing only a few chromatic tones, then departing quite radically in the final bars to

settle on the melodic tritone D - (see example 43).


resoiaKenS ^ icm'<nonts

»V» drr?*1* ^

' rwie Chrffmunc ascent

Example 43: Var. XII mm. 9-16

In Paganini's Finale, the implied harmony is i - V/iv - iv - vii°7 (mm. 1-4), and is

repeated exactly in mm. 5-8. It ends with an eight-measure cadential tonic: A major

appears as a picardy third. However, in Lutoslawski's piano version, this Finale material

is used in abbreviated form as a coda which remains in A minor. Figures like Paganini's

arpeggios appear in Piano I, and the triplet accompaniment shifts to Piano II. The tritone

A-D^ occurs prominently in mm. 17 and 19, between both pianos and within Piano II

itself. The basic harmony is tonic but with a chromatic scale woven through the whole

coda in Piano II (see example 44).

This brief Coda provides the climax of the whole piece. A crescendo moho

intensifies the already/orre dynamic level, with added sfffxn mm. 9, 11, 13, 14,21-24,

and the tempo increases once again on the final page. Besides these, the glissandi in mm.

1,4-5, 8-9, and the unmeasured tremolo with f f f on mm. 21-22 really reach its high point

and close the piece with great excitement.


Paganini's Finale:

o /

m. CD ©

M.

riv

@ ©

Lutoslawski's Coda:

A.ncora piu mosso

crescendo mottoco n p e a .K: \

crescendo motto

a: :

Example 44: Paganini's Finale and Lutoslawski's Coda (example contd.)


38

(rhmma-tlc. )

Var. XI:

I.Cr d A 3 ^ ) -*•

V«r-2L

W.T.i.+ Cc B £ r aS#A*) = Ca»«plefa. AH »C^n»ni«S‘c notes

Example 45: Reductive sketches of Vars. XI and XII (example contd.)


39

Var. XII:

w . (D Ancenx. PiiunetfO

Scort«T" in d f ln w it npyataa

Rd»t -bone.

© © © © <g> @ ® @

J


CHAPTER 7

CONCLUSION

As mentioned previously, Witold Lutoslawski's Variations on a Theme by Paganini

fo r Two Pianos, adheres closely to Paganini's version. However, Lutoslawski's work is

no mere transcription. His addition of supporting harmonies, imitative and free

countermelodies, and rhythmical accompaniments make this setting a different piece

entirely, as shown earlier in the detailed analysis.

This essay has provided an in-depth discussion of Lutoslawski's use of harmony,

counterpoint, and rhythm/texture and other aspects as well. The implied harmony of

Paganini’s original theme was the source for Lutoslawski's two piano version, and from

this theme Lutoslawski derived visions for later development

Lutoslawski accompanies the opening theme with polyharmony in both piano parts.

From this nucleus grows an array of polychords and bitonality that are presented in many

fashions throughout the entire composition. Also, the sequences of falling thirds and rising

steps in the accompaniment to the theme recur later in the piece. The sequence of falling

thirds develops into rising thirds in Vars. Ill, X, and XII, foreshadowing the tonal

departures to and D found later in Var. IV. The emphasis on falling fifths along with

sequences of a dominant 7-#5 is of particular interest in Vars. V and VIII. Also, the use of

parallel motion--particularly parallel fifths—occurs in the harmonization of the theme and is

employed throughout the entire piece. In the opening theme, Lutoslawski introduces

important tritone relationships which are prominent features in Vars. I, II, III, and IV.

These tritone relationships create polychords in both pianos, and foreshadow the large-

scale departure to in Var. VII and the Coda, thus projecting a tritone relationship of A-

E*3. This tritone relationship builds intensely from Var. VII, and is thus interwoven with

whole-tone harmony in Vars. X and XI. This whole-tone harmony is first officially

40


41

introduced in Var. VII, but it is obliguely suggested in the opening theme and Vars. Ill and

VI. The tritone relationships and whole-tone harmony climax simultaneously in Var. XI.

Lutoslawski's counterpoint is highly structured. He achieves an effective balance

through the use of parallelism and contrary motion in the melodic lines. In Var. VI, he

employs a strict canon by inversion and gradually builds adding a triplet rhythm in Var. VII

and quartai dyads in Var. IX. These factors, along with others, gradually create greater

tension as well as thicker texture.

Since Lutoslawski employs Paganini's original theme and follows its model

faithfully, some features of the rhythmic structure are similar to the original. However,

Lutoslawski's incorporation of displacement and syncopation creates complex rhythmic

details. In an effort to express mood and color, Lutoslawski has created an untraditional

type of modulation in Vars. V, VI, and VII. Although it presents aspects of a bitonal

setting, it most assuredly offers the listener a modulating flavor. The modality in Var. VI,

for example, exemplifies a strong sense of transition. Lutoslawski also achieves color and

mood in the variations by altering the melodic material from its original form. Examples of

these alterations appear in such places as Var. IV, mm. 7-8, 14-16, and Var. XI, m. 3. In

Var. XII, he not only substitutes the original opening theme for the original Var. XII

theme, but he also lowers some of the pitches a half step (examples: A*3 instead of A-

natural in m. 11, instead of E-natural in m. 12, and instead of B-natural in m. 14).

In addition to these changes, Lutoslawski also employs added-note chords throughout the

entire work. Texture and tension are increased gradually with dynamics and other features,

bringing the piece to its final climax. The graph below diagrams the overall shape and

climax of the piece:

I II III IV V VI VII VIII IX X XI XII


4 2

In the graph, one can easily see how the materials Lutoslawski employed relate as a

group. The light contrapuntal texture from Var. I gradually intensifies, leading into the

fortissimo chordal Var. III. Despite the continuation of counterpoint in Var. IV, the

dynamics diminish to create a second section that builds up through Var. V. Var. VI brings

a drastic change in dynamics which totally change the character of the variation, making it

extremely contrapuntal, slow in tempo and legato in style. This movement, unlike the

others, functions to relieve tension and create a sense of peace. Returning to a faster tempo

and a vivacious character, a new section begins with Var. VII. Lutoslawski uses a two-

measure vamp to introduce new material, consisting of a triplet rhythm which continues

throughout Var. VIII. This figure is reduced to neighboring note dyads in Vars. IX and X,

but their rhythm remains propulsive. The dynamics continue to be somewhat soft in Var.

IX, but there is a gradual crescendo leading into and continuing throughout Vars. X and

XI. The dynamics in Var. XI are intensified even more by the whole-tone scale and tritone

relationships. The glissando at the end of Var. XI brings out the recurring theme in

augmented form which Lutoslawski inserts to relax the tension. Finally, Paganini's Finale

appears as a Coda thus creates an exciting conclusion.

In terms of the compositional procedure, bitonality, tritone relationships, whole-

tone scales, chromaticism, counterpoint, texture, register, dynamics, rhythm, and

articulation are all important factors and are interwoven throughout the composition.

Lutoslawski's set of variations, like the free variation sets by Brahms and Rakhmaninov on

this famous theme, has achieved its place in the duo-piano repertoire.4

4 Steven Stucky, Lutoslawski and His Music. (London; Cambridge University Press, 1981), 16-17.


BIBLIOGRAPHY

Austin, William W., Music In The 20th Centurv. from Debussv through Stravinsky. W. W. Norton &Company, Inc., New York, 1966.

AWL. Program note in Witold Lutoslawski: Variations On A Theme Bv Paganini. Masters Music Publications, Inc., Boca Raton, Florida, January, 1993.

Cope, David, New Directions in Music. Sixth Edition. Brown & Benchmark Publishers, Madison, Wisconsin, 1993.

Griffiths, Paul, Modem Music. The Avant Garde Since 1945. George Braziller, Inc.,New York, 1981.

Kaczynski, Tadeusz. Program note of “Witold Lutoslawski’s Variations On A Theme By Paganini” in PNCD045, Polskie Nagrania Recording, Poland, 1989.

Machlis, Joseph, Introduction to Contemporary Music. Second Edition. W. W. Norton & Company, New York. London, 1979.

Nordwall, Ove., ed., Lutoslawskv. Edition Wilhelm Hansen Stockholm, 1968.

Stuckenschmidt, H. H., Twentieth Centurv Music. World University Library, McGraw- Hill Book Company, New York, 1969.

Stuckv, Steven, Lutoslawski and His Music. Cambridge University Press, London, 1981.

___________ . "The Music of Witold Lutoslawski: A Style-Critical Survey." Ph.D.dissertation, Cornell University, May, 1978.

43


PART II

AN ORIGINAL COMPOSITION "CONCERTO FOR TWO PIANOS AND ORCHESTRA"

A. INSTRUMENTATION

2 Flutes (FI)1 Piccolo (Picc)

(Flute 2 interchanges with Piccolo)2 Oboes (Ob)2 Clarinets in (Cl)2 Bassoons (Bsn)2 Horns in F (Hm)2 Trumpets in C (Tpt)2 Trombones (Tbn)1 Tuba(Tba)4 Timpani (Timp)2 Pianos (Rio)Violin I (Vln I)Violin II (Vln II)Viola (Via)Cello (VC)Double Bass (DB)

NOTE:1. The score is in C.2. There is no pause between Variations in the third movement.

B. FOLKTUNES USED:I

2 Percussionists (Perc):Perc 1: Wood Block (WB)

Wind Chimes (WC) Triangle (Tri)Suspended Cymbal (SC) Concussion Block (CB)

Tambourine (Tamb)Perc 2: Bass Drum (BD)

Triangle (Tri)Wind Chimes (WC)Wood Block (WB) Suspended Cymbal (SC) Concussion Block (CB)

44


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VITA

Ling Chao Chen, a native of Taiwan, was bom in the city of Kaohsiung in 1959.

After the elementary school and private studio teaching, Chen came to United States in

1981 to advance her studies in Western music. She completed both bachelor of music in

1985 and master of music in 1987, in piano performance at Pittsburg State University.

The major professors included John MacKay and Susan Machant. In 1988, Chen

completed a master of music in Theory/composition with Richard Cook as well as a Piano

Technology Certificate. In 1991, she received an educational specialist,a post master

degree in Community College and Higher Education at Pittsburg State University,

Pittsburg, Kansas. Upon graduation from PSU, Chen furthered her studies at Louisiana

State University under the professorship of Dinos Constantinides, where she will receive

a doctor of musical arts degree in December 1996.

Chen is a member of the following professional organizations and honor society:

American Music Center, Society of Composer, International Alliance for Women in

Music, National Association of Composers USA, Piano Technicians Guild, and Phi

Kappa Phi Honor Society. Her music has been performed in Pittsburg, Kansas; Baton

Rouge, Louisiana; Houston, Texas; as well as her native Taiwan. She has received

commissions by the following: the Houston Chinese Adult Choir, Houston Chinese

Youth Orchestra, Baton Rouge Children’s Choir (composer in residence 1995-96), and

with Paul Tsai, who is the most famous operatic singer from Taiwan. She has also

received commissions from numerous performers. As a music teacher, Chen has

maintained a studio of teaching piano, composition and theory. A member of the Piano

Technicians Guild, she is also an experienced piano technician in piano tuning, repairing

and rebuilding.

164


DOCTORAL EXAMINATION AND DISSERTATION REPORT

Candidate: Ling Chao Chen

Major Field: Music

Title of Dissertation: An Analysis of Witold Lutoslawski's "Variationson a Theme by Paganini" for Two Pianos

andAn Original Composition "Concerto for Two Pianos and Orchestra"

Approved:

Major Professor and Chairman

Graduate School

EXAMINING COMMITTEE:

Date of Bxamination:

July 24, 1996


An Analysis of Witold Lutoslawski's 'Variations on a Theme ...

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