Est 1923

Inside the mind of composer Andrzej Panufnik

James McCarthy
Wednesday, June 4, 2014

Panufnik's Universal Prayer is strictly controlled by the framework, Panufnik said, 'the whole work is based strictly upon one triad only, used both vertically and horizontally with its perpetual reflections and transpositions'
Panufnik explains the structure of his Symphony No 10: 'As in my previous symphonies, the beauty and mystic forces of geometry influenced me in the overall design. The invisible skeleton of the symphony is the "golden ellipse"; its curving frame guided me in the ordering of the expressive contractions and expansions of musical texture.'
The engrossing stream-of-consciousness sketch for Symphony No 7, 'Metasinfonia'
The elegant sketch for Panufnik's Symphony No 8, the composer said, 'Seeking the architectural framework for this symphony, I created in my imagination a “mother diagram” - two large circles combined into a figure 8, which represent the two movements of the symphony, and which contain the more complex inner structures of the work.'
Panufnik's Symphony No 6 is explained by the composer, 'The title Sinfonia Mistica reflects my deep fascination with the mystery and beauty of geometry; referring in this composition specifically to one figure which for me personally is a symbol of universal order and inner harmony'
The architecture behind Panufnik's Symphony No 9, which he explained thus, 'The shape and colours of the rainbow dictated to me the framework for this work, which is composed on two planes; a continuous, flowing melodic line, and, in contrast, the simultaneous progression of a 3-note cell with its perpetual reflections and transpositions.'
Panufnik explains the logic behind his Pentasonata for piano solo (1984)
Sketches for Panufnik's Arbor Cosmica for String Orchestra: Panufnik wrote, 'This work has grown out of my lifelong admiration, almost worship, for trees', as can clearly be seen from the tree-like structure of the sketch
The concept behind Panufnik's Symphony No 5: Panufnik wrote, 'In this work, the concept of spheres gave me a double impetus: first and most essential, spheres of contemplative thoughts and emotions; and the secondary aspect, a group of spheres as a geometric figure which acts as a framework enclosing meticulously organised musical material.'

The sketches in this gallery reveal the thinking behind some of Andrzej Panufnik's greatest works, including Symphonies Nos 5-10, Pentasonata and Arbor Cosmica. They are a rare insight into a composers' creative process. This year marks the centenary of Panufnik's birth and the recording of his Symphony No 5 conducted by Łukasz Borowicz is an Editor's Choice in the June issue of Gramophone, you can listen to a track from this album below: 

 

 

 

 

 

The pictures are reproduced by permission of Boosey & Hawkes Music Publishers Ltd and Camilla Panufnik.

Click on an image above to open the gallery

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