Witold Lutosławski

{{Wide image|Lutosławski Symphony No. 2 nos. 7-9.gif|700px|”’Example 1”’, numbers 7 to 9 from the score of the Second Symphony (1966–67), illustrates Lutosławski’s harmonic and aleatory procedures from his mature style}}

{{Wide image|Lutosławski Symphony No. 2 nos. 7-9.gif|700px|”’Example 1”’, numbers 7 to 9 from the score of the Second Symphony (1966–67), illustrates Lutosławski’s harmonic and aleatory procedures from his mature style}}

Both Lutosławski’s harmonic and aleatory processes are illustrated by ”example 1”, an excerpt from ”Hésitant”, the first movement of the Symphony No. 2. At number 7, the conductor gives a cue to the flutes, celesta and percussionist, who then play their parts in their own time, without any attempt to synchronise with the other instrumentalists. The harmony of this section is based on a 12-note chord built from [[major second]]s and [[perfect fourth]]s. After all the instrumentalists have finished their parts, a two-second general pause is indicated (”’P.G. 2″”’ at top right of the example). The conductor then gives a cue at number 8 (and indicates the tempo of the following section) for two oboes and the cor anglais. They each play their part, again with no attempt to synchronise with the other players. The harmony of this part is based on the hexachord F{{music|sharp}}–G–A{{music|flat}}–C–D{{music|flat}}–D, arranged in such a way that the harmony of the section never includes any sixths or thirds. When the conductor gives another cue at number 9, the players each continue until they reach the [[repeat sign]], and then stop: they are unlikely to end the section at the same time. This “refrain” (from numbers 8 to 9) recurs throughout the movement, slightly altered each time, but always played by double-reed instruments which do not play elsewhere in the movement: Lutosławski thus also carefully controls the orchestral palette.{{sfnm|1a1=Bodman Rae|1y=1999|1pp=103–104|2a1=Stucky|2y=1981|2pp=160–161}}

Both Lutosławski’s harmonic and aleatory processes are illustrated by ”example 1”, an excerpt from ”Hésitant”, the first movement of the Symphony No. 2. At number 7, the conductor gives a cue to the flutes, celesta and percussionist, who then play their parts in their own time, without any attempt to synchronise with the other instrumentalists. The harmony of this section is based on a 12-note chord built from [[major second]]s and [[perfect fourth]]s. After all the instrumentalists have finished their parts, a two-second general pause is indicated (”’P.G. 2″”’ at top right of the example). The conductor then gives a cue at number 8 (and indicates the tempo of the following section) for two oboes and the cor anglais. They each play their part, again with no attempt to synchronise with the other players. The harmony of this part is based on the hexachord F{{music|sharp}}–G–A{{music|flat}}–C–D{{music|flat}}–D, arranged in such a way that the harmony of the section never includes any sixths or thirds. When the conductor gives another cue at number 9, the players each continue until they reach the [[repeat sign]], and then stop: they are unlikely to end the section at the same time. This “refrain” (from numbers 8 to 9) recurs throughout the movement, slightly altered each time, but always played by double-reed instruments which do not play elsewhere in the movement: Lutosławski thus also carefully controls the orchestral palette.{{sfnm|1a1=Bodman Rae|1y=1999|1pp=103–104|2a1=Stucky|2y=1981|2pp=160–161}}

=== Late style ===

=== Late style ===