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A “Farewell” to His Past: Krzysztof Penderecki's Clarinet Quartet And

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A “Farewell” to His Past: Krzysztof Penderecki's Clarinet Quartet And A “FAREWELL” TO HIS PAST: KRZYSZTOF PENDERECKI’S CLARINET QUARTET AND SEXTET A document submitted to The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Performance Studies Division of the College-Conservatory of Music 2012 by Peter L. Cain B.M., Vanderbilt University, 2007 M.M., University of Minnesota, 2009 ii Abstract Krzysztof Penderecki’s turn in the last three decades to a more approachable style can be seen most clearly in his chamber music. Although larger works like his Credo and Seven Gates of Jerusalem have received more recent attention, Penderecki himself points to chamber music as his most fertile area of innovation. This document compares the Clarinet Quartet and Sextet to his other recent works, both chamber and large-scale. It uses motivic and intervallic analysis to expose the underlying structure of the works, and then compares the compositional fabric of these two pieces to other recent chamber works. It also situates these works within the larger picture of Penderecki’s later output and argues that the Clarinet Quartet is a key work that marks a turning point in his later “synthesis” period. iii © 2012 by Peter L. Cain iv Table of Contents Chapter 1: Introduction ................................................................................................... 1 Chapter 2: Background .................................................................................................... 5 Biography ........................................................................................................................ 5 Compositional Periods .................................................................................................... 8 The Idea of Synthesis .................................................................................................... 11 Dramatic/Sacred Works ................................................................................................ 13 Influences ...................................................................................................................... 14 Conclusion ..................................................................................................................... 16 Chapter 3: Clarinet Quartet ............................................................................................ 17 Sources .......................................................................................................................... 17 Background ................................................................................................................... 18 Recordings/arrangements .............................................................................................. 22 Interesting Aspects ........................................................................................................ 22 Form .............................................................................................................................. 23 Motives .......................................................................................................................... 25 Implied Keys ................................................................................................................. 32 Limited Intervallic Palette ............................................................................................. 36 Conclusion ..................................................................................................................... 40 Chapter 4: Sextet ............................................................................................................. 41 Background ................................................................................................................... 41 Episodic Aspects ........................................................................................................... 43 Form .............................................................................................................................. 49 Melodic motives ............................................................................................................ 54 Intervallic Limits ........................................................................................................... 64 Rhythmic motives ......................................................................................................... 65 Tonal Implications......................................................................................................... 69 Comparisons with the Quartet ...................................................................................... 70 Conclusions ................................................................................................................... 73 Chapter 5: Works of the “Synthesis” period ................................................................ 74 v The Idea of Synthesis .................................................................................................... 74 Overarching Penderecki Characteristics ....................................................................... 76 Form .............................................................................................................................. 78 Motives .......................................................................................................................... 81 Intervals ......................................................................................................................... 84 Other Compositional Characteristics Unique to the Synthesis Period .......................... 85 Chamber Music in the Synthesis period ........................................................................ 90 Major Pieces of the Synthesis Period ............................................................................ 93 Placing Clarinet/Chamber Works in context of Penderecki’s Late Period ................... 95 Conclusions ................................................................................................................... 96 Chapter 6: Conclusion .................................................................................................... 98 Bibliography .................................................................................................................. 100 Appendix A: Discography ............................................................................................ 105 vi List of Figures Figure 3.1: Similarities between the Schubert Quintet and the Clarinet Quartet ..............21 Figure 3.2: Clarinet Quartet, first movement, mm. 1–6, with motives highlighted (initial entrances only) ...................................................................................................................26 Figure 3.3: Clarinet Quartet, fourth movement, mm. 34–37 ............................................27 Figure 3.4: Clarinet Quartet, first movement, mm. 16–20, clarinet and viola ..................27 Figure 3.5: Various uses of the oscillating semitone motive in the Clarinet Quartet .......29 Figure 3.6: Clarinet Quartet, various “bouncing” motives ...............................................31 Figure 3.7: Clarinet Quartet, fourth movement, mm. 17–20, the R motive ......................32 Figure 3.8: Clarinet Quartet, fourth movement, mm. 1–8, with G# minor highlighted ...33 Figure 3.9: Clarinet Quartet, fourth movement, mm. 12–14, Clarinet (in A ) plays ‘A’ motive to reinforce key of F with violin ............................................................................33 Figure 3.10: Clarinet Quartet, fourth movement, mm. 41–52, the A (i8) motive, reinforcing F.......................................................................................................................35 Figure 3.11: Clarinet Quartet, first movement, mm. 1–11. Arrows point out the only non-ic 1,3, or 6 intervals ....................................................................................................37 Figure 3.12: Clarinet Quartet, third movement, mm. 1–6, variations on the D motive ....38 Figure 3.13: Clarinet Quartet, first movement, mm. 12–19 ..............................................39 Figure 4.1: Sextet, second movement, opening ..................................................................45 Figure 4.2: Sextet, first movement, mm. 10–15, 24–32, the initial melody and its inversion in violin and clarinet ..........................................................................................47 Figure 4.3: Sextet, first movement, mm. 73–74, one of many chaotic passages ...............48 Figure 4.4: An outline of the first movement with possible sonata-form areas superimposed .....................................................................................................................50 Figure 4.5: Outline of the second movement .....................................................................53 Figure 4.6: Sextet, first movement, mm. 10–19, with motives outlined ............................55 vii Figure 4.7: Sextet, first movement, different uses of the A motive ...................................55 Figure 4.8: Sextet, first movement, mm. 55–65, with motives marked .............................56 Figure 4.9: Sextet, first movement, mm. 31–42, alternation between A and B material ...58 Figure 4.10: Sextet, first movement, main motives ...........................................................59 Figure 4.11: Variations on the R motive
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