Witold Lutoslawski's Mi-Parti
A Musical Essay in Sound Textures

by: Nancy Woo

Mi-Parti, commissioned by the Amsterdam Concertgebouw Orchestra and first performed by that ensemble in 1976, is a single movement orchestral work, about 15 minutes in length. The work is an essay in sound textures, partly inspired by the quality of sound of the commissioning orchestra. This orchestra had developed a unique tone, developed and cultivated by the conductor Eduard van Beinum, who introduced many French works to the ensemble, particularly those of Debussy and Ravel (Marek 1977, 3). The work also satisfied an inner need of Lutoslawski's "to compose a work free from the aggressive sound of the Second Symphony . . . to continue my search for the beautiful sound which was already at the source of Livre pour Orchestre . . ." (Kaczynski 1984, 84).

Lutoslawski utilizes a process of "gradual transformation" as the primary feature in this work. The 12 note chord aggregates in the opening section which gradually, and often almost imperceptibly, transform creating the harmonic movement in this piece. The individual melodic lines of the woodwinds in the opening section also use this concept of "gradual transformation". The structure of the piece as well as the individual phrases in each of the solo lines follows a process of foreshortening which adds to the forward motion towards each of the climaxes. Ad libitum sections are used to create flexible and mobile climaxes, and at times add to the atmosphere of the slowly modifying sound textures.

The Title and Its Implications

The title, Mi Parti is a French term referring to something consisting of two parts which are equal but not identical. It does not refer to the macro-structure of the work itself, but rather the micro-structure of the phrases of the individual solo lines which are heard against pianissimo, slow moving strings in the opening slow section of the piece. In this section, each phrase of the solo line is repeated, and in the repeat the beginning of the next phrase is heard (Kaczynski 1984, 81). For example, the opening bass clarinet line begins with E - Bb - A - E , then E-Bb-A-Ab-G-E. The repeat of the phrase begins again with E-Bb-A-E, but then moves to E-A-Ab-Ab-G-E . The second phrase begins with E-A-G# -E (see example from score - rehearsal: 1-5). There have been many attempts to apply the "mi-parti" concept to other elements of the work, however, that was not Lutoslawski's intention. When discussing the origin of the work's title with Tadeusz Kaczynski, the composer states:

"But I'd rather not go too far into all the implications: I don't think I'm quite up to the responsibility. I've already come across learned dissertations which drew far-reaching and many sided, though unrealistic, conclusions from the choice of the title." (Kaczynski 1984, 81)

Use of foreshortening - Structure of the Phrases and Sections

The piece is made up of three main parts, each of which can be divided into three phases, the third of which then leads to a culmination. The repetition of the phrases 3 times before the final culmination is what Lutoslawski labeled a "classical rick" allowing the piece to gain momentum, repeating material to make it more memorable and easily absorbed (Kaczynski 1984, 83). The structure of each of the phases utilizes the concept of foreshortening in which the lengths of the phrases in each of the individual solo lines shortens as the approach towards the climax progresses, and the entrances of subsequent instruments or groups of instruments occur sooner, creating a denser texture. For example, the first phase can be divided into eight parts, each marked by the entrance of the individual solo instruments.

    1. introductory string section
    2. bass clarinet entrance
    3. horn entrance
    4. clarinet entrance
    5. oboe entrance
    6. flute entrance
    7. entrance of doubled parts
    8. ad libitum all parts

Each of the eight parts is made up of progressively fewer measures, so that the first part consists of 9 measures, the second - 7 measures, the third - 6 measures, and continuing until the final single bar, which is the first ad libitum section. The shortening effect can also be seen in the number of introductory string sections. The first of these sections at the beginning of the piece is 8 measures in ength; then 4 measures before the second phrase; and only 1 measure before the final phrase.

This shortening process can also be observed in the second main section of the work, in which the entrance of the first two instrument groups (1. clarinet and bassoon, and 2. piano, celeste and harp) at rehearsal 25 occur four measures apart, whereas the entrance of the final group (flutes and oboes) is only two measures after the entrance of the strings. Then at rehearsal 26-27, the instrument groups enter in the same order as at rehearsal 25, but each entrance is sooner, allowing for a second entrance of the clarinet and bassoons group, and the celeste, harp and piano group in the same number of beats.

Each of the two main climaxes of the piece feature ad libitum sections which are an inevitable result of the shortening of the phrases and the quickening of the pace. The climactic sections are preceded by denser textures, and more rapidly moving lines. The first climax is more transitory, as it uses three transformations of the harmonic texture of the wind instruments (at rehearsals 16, 17 and 18). The second climax, which is the climax of the work itself, is more stable and utilizes a thicker texture with the full orchestra.

12 Note Chord Aggregates

The use of 12 note chords, typical in the music of Lutoslawski, is seen in the opening section, which uses a series of eight 12 tone chords. The chords in this cycle are gradually transformed through the use of octave displacement. The series is then repeated two more times, each repetition transposed a semitone higher. The first main section of the piece ends with the first chord of the third transposition of the eight chord cycle. The material that follows is not based on 12 note chords. However, the cycle does return just before rehearsal 38. This pattern resumes with the second chord of the third transposition and continues through the seventh chord of the cycle at that transposition level, which occurs at the climax at rehearsal 39. The chords of the eight chord cycle have been analyzed by Charles Bodman Rae in his book "The Music of Lutoslawski" . According to Rae, the each 12 note chord consists of three 4 note chord aggregates, which can be traced to a series of 10 "classified" 4 note chords (Rae 1994, 54 table 3) Each stage of the first main section begins and ends with a different chord aggregate, and develops its own pattern of foreshortening as it moves towards the climaxes. Thus, the chord changes occur more quickly as the climax approaches.

Structure and Form

The first main section of the work features the pianissimo strings playing the 12 note chords. The main pitches for the melodic lines of the solo instruments come from the harmonic background provided by the strings. These pitches are ornamented with neighboring semitones. As mentioned before, each melodic line is repeated with a new element from the next phrase. Often, the "striking change of pitch in the second part of a phrase will often mark the arrival of that note at that register in the string chord" (Hanson 1978, 30). It is this technique of deriving the melodic lines from the harmonic background that Lutolslawski grew dissatisfied with not long after the premiere. In a quote form Rae's book, Lutoslawski states:

"I consider melodies derived from harmonies as rather poor. That's the way I composed the beginning of Mi- Parti, which I think I will avoid in the future . . . especially the solo instruments which more or less repeat the sounds of the chords. I find it an unsatisfactory solution." (1994, 142)

The first phase of this section features the solo instruments in the order listed above (bass clarinet, horn, clarinet, oboe, flute, doubled parts, and then ad libitum). The second phase reverses the entrances of the solo instruments, and the final phase of the first section combines elements of the first two phases, so that the flute and bass clarinet enter together; then the oboe and horn; then the clarinets. The climax introduces all of the wind instruments in an extended ad libitum section.

The opening of the second main section of the piece features an active, more dramatic polyphony of textures. Here, the instruments enter in groups, forming layers of texture. According to Steven Stucky, the material for the textural participants has been "extrapolated" from the woodwind material in the first main section. The 12 tone set, which uses only intervals 1, 3, and 4 between adjacent order positions, does not appear in full, but serves as source material for the instrumental groups (Stucky 1981, 191 fig. 6.31). This interplay of groups is interrupted by the brass. The melodic lines of the brass episodes come from a nine note series which are divided between the instruments. At rehearsal 24, the brass instruments pause, on four notes of the nine note series, at several fermatas; at which point, the pizzicato strings and piano punctuate the texture with the remaining eight notes using chords that feature major and minor seconds, completing the 12 note harmony. The nine note series is repeated five times each transposed down a whole tone, with a sixth repetition left incomplete. At rehearsal 25 the polyphony of instruments continues, in different groups, this time with a series of 24 conductor beats which are measured (ca. 50). In the first 12 beats, the clarinets and bassoons enter at rehearsal 25; the celeste, harp and piano enter on the fifth beat; the strings enter on the seventh and eighth beats; and the flutes and oboes enter on the eleventh beat which is at rehearsal 26. Here, the instruments enter again in the same groupings and order, this time each entrance is sooner, allowing for a second entrance of the first two groups, as mentioned before. This pattern is interrupted by the brass entrance at rehearsal 28.

The same nine note series is used for the brass episodes here, this time without the fermatas. The pizzicato string and piano clusters occur more rapidly, beginning the motion towards the climax. By rehearsal 29, the "macro-rhythmic" accelerando moves beyond the point where aural perception can delineate the individual strands. Instead, the textures merge in a symphonic development of the materials presented moving towards the climax at rehearsal 39 (Stucky 1981, 193). The brass series returns for the third time three measures after 35, this time completing the transposition cycle (from Bb to Bb).

The approach to the climax is interrupted by a pause two measures before rehearsal 38, and the re-entry of the eight chord cycle. The climax passes directly to the coda. At the downbeat of rehearsal 40, the individual players complete the repeated phrase from the ad libitum section at rehearsal 39 (marked fortississimo), then move on to the pianissimo chord or rest at rehearsal 40 (the entrances of the notes or rests at this point do not sound simultaneously). This chord, described as "icy" is made up of tritones and semitones and marked "non-vibrato". The chord is then transformed, again through octave displacement, this time condensing the chord to a middle register 12 tone chord exclusively made up of semitones. Some of the octave transfers are marked by almost comic, or rude, brass entrances, which, according to Lutoslawski, represent the "'real world outside' intruding, lest the music become 'too pretty, to idyllic, too naïve'" (Stucky, 1981, 193).

At rehearsal 43, the semitone 12 note chord gradually dies away as 3 solo violins play ad libitum solo lines using the same nine note brass series from part two. The mood is altered, making the series is hardly recognizable. An interesting notation in the score at rehearsal 43 states:

"The 3 solo violinists play independently of each other and enter according to cues in their parts. The conductor should follow the soloists (until 44) and not the other way round."

At rehearsal 44, the slowly ascending cantilena section begins with the 12 first violins playing ad libitum as soloists, gradually making the ascent from G# to the final high C at the end. The number of pitches used and the number of different written parts correspond, so that at rehearsal 44, the 12 solo violinists play a series of six pitches written out in six rhythmic patterns, each with one fermata on a different note in each part. Although there are only six written parts, each of the soloists play independently of each other. The same process is used at rehearsal 45, but this time only five pitches are used, and five written parts, with indications as to which violin parts are to play which parts. The number of parts and pitches continues to diminish, creating a thinning harmonic texture, until rehearsal 48, where the 12 soloists play a unison A. At rehearsal 49, the parts begin to expand, first to three notes and parts, then to 5, then seven, before finally ending on the unison C from rehearsal 52 to the end.

Throughout this section from rehearsal 44 to the end, there are momentary interjections, or remembrances, of the previous ad libitum polyphonic sections from part two. The first phrase, from rehearsal 44 - 48, contains three of these partial, "splashes of color", first from the celeste, harp and pizzicato strings, then three oboes and chimes, and finally timpani celeste, harp and strings, after the unison A in the solo violins. Then, as the violins expand the texture, continuing the ascent, two more momentary flashbacks occur, first with three flutes and vibraphone, then with the three flutes and glockenspiel. The final entrances of these interjections is fuller, texturally, but then tapers off until only the final C in the solo violins is heard, then decays to the end (Stucky 1981, 193-4)

Aleatorism - Collective Ad Libitum

The main feature of Lutoslawski's use of what he terms "limited aleatorism" or "aleatorism of texture" , is that "the performers are given the freedom of establishing the order in which the formal elements, as composed by the author, are finally presented to the listeners" (Lutoslawski 1968, 48). The collective ad libitum, the most typical form of controlled aleatorism, is used in Mi-Parti. Lutoslawski's intent is to create a "sound picture" or "sound texture" through his use of collective ad libitum. The notes and rhythms are carefully planned, so as to avoid what he would consider the "least advantageous" outcome. The freedom given to the performers is in the actual performance of each individual line, much like they would in their solo literature. So, the existence of rubato and non-simultaneous ritards, in addition to the absence of a common pulse, further enhance the rhythmic complexity and flexibility of the texture (Lutoslawski 1968, 50-51).

The ad libitum sections in Mi-Parti have several main funtions. The first two ad libitum sections, at rehearsals 7 and 13 in the first main section of the work, act as an "aftermath" to the climactic points of each of the first two phrases. The individual parts diminish dynamically and follow non-simultaneous ritardandos, with each part being different in length; thus creating the effect of falling away from the climax. The third instance of ad libitum functions as the climax of the final phrase of the first main section. The forward motion is maintained throughout the use of quicker figures and harmonic transformations. There are no ritardandos, but the rhythmic motion slows down through the introduction of non-simultaneous half notes in each of the solo parts, as well as a decrease in the length of each line. The half notes prevail at rehearsal 19, indicating the end of the ad libitum section.

In the opening of the second main section, each entrance of the ad libitum sections (as performed by the polyphony of instrument groups as discussed earlier) is initially marked by 1, 2 or 3 steady (though not metered) beats "after which the players are not supposed to play precisely together' (score pg 17). These textures overlap each other, creating layers of textures weaving in and out of the overall sound picture. At rehearsal 39, the ad libitum section again functions as a climax, this time with only one harmonic texture and marked fortississimo; thus presenting the climax of the work. At the conductor's beat at rehearsal 40, the fortississimo ad libitum passages gradually give way to a sustained pianissimo chord.

The final truly ad libitum section occurs in the third main section, in which the solo violins repeat various, slow cantabile lines. This texture creates the background which is accented by the short ad libitum sections in various other instrumental combinations, recalling the textural polyphony from the second main section.

Lutoslawski also uses a technique which could be described as "measured ad libitum" or "metered counterpoint". These sections are each measured in some way, yet the overall effect is similar to that of the actual ad libitum sections. This is created using very detailed and unique rhythmic notation in each of the solo parts. For example, in the opening phrase of the piece, the horns are notated primarily with eight note triplets, the clarinet with sixteenth note quintuplets, the oboe and bass clarinet with countering parts in half and quarter notes, and the flutes in quick sixteenths and thirty-second notes. Each part by itself is very easily understood in the context of the 3/4 time signature, but together they create a complex rhythmic texture. At rehearsal 25-28, the effect is again created, this time without meter, but with measured beats (ca 50), so as not to be confined to the limitations of bar lines. The primary difference between these "measured" ad libitum sections and the free ad libitum sections is the lack of the aforementioned rhythmic flexibility. But, by taking full control of the rhythmic elements, the overall textures of the polyphonic parts remains constant.

Several of the ad libitum sections overlap, creating a momentary confusion in the harmony, which then leads to the resolution to the new harmony. For example, in the first climax at rehearsal 16-19, the directions for each of the ad libitum sections indicate that at the conductor's beat, the performers continue to the next caesura then move directly to the new section. The effect is a non-simultaneous, or gradual, move to the new harmonic texture. In the string cantilena, the solo violinists also must play to the fermatas in the previous measure before passing on to the new measure. Since the soloists are playing independently, the effect is an overlapping of harmonic textures. This "confusion" of the harmonic textures is Lutoslawski's intent (Nikolska 1994, 127).

The directions for the ad libitum sections are clearly indicated in the score. Lutoslawski uses a set of different types of arrow to indicate various elements of the ad libitum sections. The full white arrow indicates a free ad libitum, while the full black arrow indicates a more measured beat. Occasionally, a "half" arrow appears, in which only the left half of the arrow is present. This indicates that the conductor should beat the left hand for entering instruments, while the right hand holds for the continuing ad libitum parts. These arrows also appear either black or white.

Summary

Lutoslawski's Mi-Parti uses many elements to develop a unique sound texture. The use of the gradually transforming 12 note chords in the strings at the beginning of the piece creates a sea of harmony, out of which the solo lines emerge. The textural counterpoint used in the second main section allows the momentum to build towards the climax. The foreshortening of the phrases and the instrumental entrances also increases the drama. The brass episodes and the following development of the material builds the to the inevitable and typically "Lutoslawskian" climax. The ad libitum sections make each of the climaxes mobile and exciting. The "rude" brass interjections in the section just after the climax serves as a reminder of the fact that even amidst all of the beauty, the "real world" still exists, perhaps trying to catch a glimpse of world that Lutoslawski has created. The final ethereal ascent of the strings in the final section closes the work peacefully and beautifully.

References

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Score

Manuscript

Discography