Musical Borrowing
An Annotated Bibliography

Individual record

[+] Bezuidenhout, Morné P. “Metamorphosis in ‘Metamorphoses’: A Set Theory approach to the Harmonic Continuo in Lutoslawski’s ‘Funeral Music.’” South African Journal of Musicology 4 (1984): 17-21.

Although Lutoslawski’s Funeral Music was written in 1954 for the tenth anniversary of Béla Bartók’s death in 1945, there was no intention to imitate Bartók’s musical style in this piece. Some of Lutoslawki’s stylistic interests are closely aligned with those of Bartók, which results in several accidental resemblances in the work. Of particular interest is the twelve-note structure (with alternating semitones and tritones) in the harmonic continuo in the second movement. Unlike the practice by composers in the Second Viennese School, this twelve-note structure does not exhibit serialism. Rather, the twelve-tone quality is found in vertical spaces of the harmonic continuo, in which thirds are absent.

Works: Lutoslawski: Funeral Music (17-21).

Sources: Lutoslawski: Two Etudes for Piano (17), Variations on a Theme of Paganini for 2 Pianos (17), Symphony No. 1 (17), Overture for Strings (17).

Index Classifications: 1900s

Contributed by: Nicolette van den Bogerd

Except where otherwise noted, this website is subject to a Creative Commons Attribution 4.0 International License
Musical Borrowing and Reworking - - 2024
Creative Commons Attribution License