Work

First / Significant Occurrences

Comments

Four Preludes op. 1 (1955)

II: mm. 14–23

Final formal section, cluster harmonies with a semitone in the bass always (occasionally a M7).

Toccata for two pianos op. 2 (1955)

mm. 25–38; mm. 97–104

The first piano plays a passage loosely in E minor, while the second piano plays a passage loosely in E♭ major, resulting in several bass semitones; chromatic clusters in the first piano, always with C-C♯.

Variazioni op. 4 (1956)

m. 6

Piano part.

Quartettino op. 5 (1956)

III m. 1

Opening harmony of (015) with semitone in the bass.

Piano Sonata op. 6, no. 1 (1956)

I: mm. 69–89

F lydian clusters in left hand interspersed with right hand F♯M clusters.

Songs of Joy and Rhythm op. 7 (1956)

I: mm. 2–3

Winds opening chord has C♯-D bass semitone (m. 2), strings opening chord has F♯-G bass semitone (m. 3).

Epitaph op. 12 (1958)

III Antiphon: mm. 19–25

Entire work depends on major sevenths, culminates in a reduction in the viola at the work’s climax.

Five pieces op. 13 (1959)

V: m. 2

Chromatic clusters with some missing pitches, but always a bass semitone.

Symphony no. 1 1959 op. 14 (1959)

I: rehearsal 1; IV: rehearsal 25

Opening harmony has a M7 in the bass, inverted to a m2 at rehearsal 1; A-E open fifth in upper string, B♭ in bass.

Monologhi op. 16 (1960)

I: m. 6

After an introductory harp solo, the percussion enters with the first chord heard in the piece, D♯-E in the bass.

Scontri op. 17 (1960)

mm. 1–9

E phrygian cluster missing B until the last moment.

Genesis I: Elementi op. 19 (1962)

Rehearsal 1–4

Long chromatic clusters in cramped intervals.

Genesis II: Canti Strumentali op. 19 (1962)

Opening

Long chromatic clusters in cramped intervals.

Three Pieces in Olden Style (1963)

I: mm. 1–4

Opening harmony, B-C-E-F.

Choros I op. 20 (1964)

Rehearsal 1–12

Chromatic clusters, always with a semitone in the bass.

Musiquette I op. 22 (1967)

Rehearsal 7

The first time the two trumpets are not in unison (or octaves), they form a semitone F♯-G.

Musiquette 2 op. 23 (1967)

Rehearsal 42 to end

Pianos playing semitones in the lowest register of the instrument.

Old Polish Music op. 24 (1969)

Rehearsal 71

Bass and cello parts.

Cantata for organ op. 26 (1968)

mm. 109–113

Semitone breve underneath rhythmic action in manuals.

Musiquette 4 op. 28 (1970)

I: rehearsal 2 5

Pianist plays diatonic clusters a semitone apart.

Ad Matrem op. 29 (1971)

Rehearsal 26

C phrygian cluster.

Two Sacred Songs op. 30 (1971)

I: mm. 1–6

C-D♭ in piano and voice.

Three Dances op. 34 (1973)

I: Rehearsal 2 4

E-F semitone in multiple instruments, repeated.

Symphony no. 3 Symphony of Sorrowful Songs op. 36 (1976)

I: mm. 330–333, 603–605; II: m. 42; III: m. 160

Phrygian line in soprano song, close of first movement; planing major seventh chords climax; planing major seventh chords.

Beatus Vir op. 38 (1979)

mm. 1–4

C minor to B major, but C lingers too long.

Harpsichord Concerto op. 40 (1980)

II: m. 25

First harmonic shift.

My Vistula, grey Vistula op. 46 (1981)

m. 1

In F major, basses sing A for the entire piece, often clashing with a tenor B♭ .

Ach, m j wianku lewandowy op. 50

IV: m. 1

Almost all phrases end on a 3^rd inversion Cmaj7 chord, B-C in the bass and tenor.

Idzie chmura, pada deszcz op. 51

Bass entrance

Third inversion seventh chords.

Lerchenmusik op. 53 (1986)

m. 1

Opening cello melody.

Five Marian Songs op. 54 (1985)

III: mm. 1–4

Tonal major seventh chords in third inversion.

O Domina Nostra op. 55 (1985)

m. 135*

D phrygian cluster.

For You, Anne-Lill op. 58 (1986)

mm. 3–4

Flute line (E-D♯) against piano E octaves.

Aria op. 59 (1987)

mm. 1–3

Opening tuba line (C-D♭-C-B) against piano C octaves.

Little Requiem for a Polka op. 66 (1993)

II: m. 1

A minor chord in piano while orchestra melody is G♯-B♭

Three Fragments to Words by Stanisław Wyspiański op. 69 (1996)

II: m. 30

Minor ninth primary motive and harmony.

Sanctus Adalbertus op. 72 (1997-2000)

II: mm. 1–8

Choir in D♭ major above piano A-B♭.

Little Fantasia op. 73 (1997)

mm. 72–83

F major seventh chord in third inversion.

Five Kurpian Songs op. 75 (1999)

II: m. 1

Each phrase begins with basses on A and tenors on B♭.

Quasi una Fantasia op. 78 (2002; string orchestra arrangement of op. 64)

IV: m. 239

While upper parts play a B♭ M⁶ chord, the double basses play a C♯ against the cello D.

For Jasiunia op. 79 (2003)

II: mm. 7–8, 11

Tonal major seventh chords in third inversion.

Kyrie op. 83 (posth. 2013)

m. 1

Opens with piano A-B♭-C cluster at the bottom of the keyboard.

Symphony no. 4 Tansman Episodes op. 85 (2006-2009, posth. 2015)

IV: mm. 160–167

Primary collection of symphony: A minor triad with B♭ and G♯.