Winter Landscape for strings (Paesaggio d’inverno per archi) (1981–82)

In 1982, two years after Strings in the Earth, Tomasz Sikorski wrote Winter Landscape – the second of his three mature works for string orchestra. Here, too, the composer used a poetic title. This is what he said about his choice in an interview:

I don’t really know why the title is Winter Landscape... Perhaps it is because I wrote it in winter, quite simply. This may be a very simple reason. Because this was when I wrote it – in late 1981 and early 1982.

The piece consists of three types of sections. Each of them is composed on the basis of a different rule and uses different material. The sections are:

1. repeated rhythmic group: quaver-crotchet and a falling, melodic fourth interval of C²-G¹,
2. chord fragments quasi senza misura, in which the highest lying component carries the melody; there is no rhythmic pattern,
3. violin solo against the background of long orchestral chords – quasi senza tempo.

The A section appears three times – once inside the composition and twice in its outer parts, providing a framework for the whole piece. Section B appears twice: between sections A and C, and between two sections A. Section C is neither repeated nor transformed; it is located at the centre of the work, constituting its axis of symmetry. The six-part form of the piece can thus be presented in the following manner:

Despite having several very different components, Winter Landscapeis a compact and coherent work. Each part flows naturally from the preceding part, without disrupting the progression of the piece.

Particularly interesting are devices used by Sikorski in section A. By applying two different tempi to perform the same rhythmic pattern (in other words – using the phase shift technique), he achieves a very interesting sound effect. In the second ‘appearance’ of this section the composer gives up the module with a falling fifth, and by gradually increasing both the volume and the tempo as well as introducing subtle harmonic changes, he enhances its power of expression.

At the end of the piece, in the third appearance of section A, we have an interesting phenomenon of the quaver-crotchet rhythmic module overlapping with the fourth module played increasingly loud up to forte, creating an impression of break or suspension. Sikorski seems to be suggesting that there is no temporal distinction between the modules, despite the fact that they are lined up in the score. They appear simultaneously, in the same moment, which seems to be confirmed by the last form of section A. A closer look at the various sections may lead us to the conclusion that in fact they complement each other (at least when it comes to expression). It is as if the additive form by means of which they are presented stemmed solely from the very nature of music, which requires a clear and transparent structure, and from the limited perceptual capabilities of the listeners.

An important role in Winter Landscape is also played by harmony. It becomes a tool for creating varied expressive hues. The tool is very precise, thanks to which the composer can create original and unique combinations. At the same time, sticking to the same rhythmic-melodic pattern, he makes sure the substantive unity of the piece is guaranteed.

The work is dedicated to the memory of Tomasz Sikorski’s friend, the philosopher Teodor Szczepański, who committed suicide.