Work

First / Significant Occurrences

Comments

Toccata for two pianos op. 2 (1955)

mm. 99–100

Inside an F lydian melody (which stands out in this atonal work), A-C-B.

Three Songs op. 3 (1956)

II: mm. 14–30

Only melodic movement in the vocal line (aside from repeated pitches) for entire B section.

Songs of Joy and Rhythm op. 7 (1956)

I: rehearsal 3

Melody in first violin (first melody of the work).

From a Bird’s Nest op. 9 (1956) Stara Melodia

Entire piece

Left hand accompaniment is nothing but E-G-F♯.

Three Pieces in Olden Style (1963)

I: mm. 11–15; II: mm. 3–4

Approaching cadence; main theme.

Old Polish Music op. 24 (1969)

Rehearsal 25

First large texture change.

Musiquette I op. 22 (1967)

Rehearsal 8

The second trumpet repeats E-F♯, while the first trumpet repeats G-F♯. They are offset rhythmically such that the Skierkowski turn will be heard, despite neither playing it outright.

Canticum Graduum op. 27 (1969)

Rehearsal 35

Immediately after the climax of the work, D-E-F-E is played in the first violin, accompanied by planing diatonic clusters.

Musiquette 4 op. 28 (1970)

II: mm. 1–8

Opening theme.

Symphony no. 2 Copernican op. 31 (1972)

II: mm. 48–51

Soprano solo melody.

Euntes Ibant et Flebant op. 32 (1972)

mm. 1–4

Opening theme.

Two Little Songs of Tuwim op. 33 (1972)

I: mm. 1–2

Opening theme.

Three Dances op. 34 (1973)

III: m. 5

Bassoon melody.

Amen op. 35 (1975)

mm. 2–5

Opening theme.

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

I: mm. 1–24; 367–370

Compounded by canon; climax; major version in mvmt. 2 (E-G♯-F♯).

Beatus Vir op. 38 (1979)

mm. 1–106; 127–130; 541–556

Long range motion of opening choir material; baritone opening melody; closing winds.

Szeroka Woda op. 39 (1979)

3: Oj, Janie, Janie : m. 2

Soprano melody closing most phrases.

Harpsichord Concerto op. 40 (1980)

I: mm. 14–15; II: mm. 39–50

Primary melodic material in strings.

Two songs op. 42

I: mm. 31–41; II: mm. 59–70

I: piano melody in B section; II: soprano melody at climax .

Blessed Raspberry Songs op. 43 (1980)

I: m. 43; IV: mm. 6–7

Climax; main theme.

Miserere op. 44 (1981)

I: mm. 1–2

Opening theme.

My Vistula, grey Vistula op. 46 (1981)

I: mm. 1–2

Melodic tenor line.

Three Lullabies op. 49 (1984)

III: m. 3

Alto main motif.

Ach, m j wianku lewandowy op. 50

I: m. 3

Main motif.

Lerchenmusik op. 53 (1986)

m. 1

Opening cello melody.

Five Marian Songs op. 54 (1985)

IV: m. 13

Second theme.

O Domina Nostra op. 55 (1985)

m. 51; m. 179

Opening soprano melody, both literally the first three notes and the larger direction of the melody; closing soprano melody.

Aria op. 59 (1987)

m. 146

Climax and first entrance of percussionist.

Totus Tuus op. 60 (1987)

mm. 43–48

First harmonic change.

Przybadź Duchu Święty op. 61 (1988)

m. 5

Soprano melody, frequent refrain.

Already it is Dusk op. 62 (1988)

I: mm. 102; 125

At several different pitch levels, each instrument plays the Skierkowski turn (with an occasional upper neighbor on the highest tone).

Good Night op. 63 (1990)

III: mm. 19–20

Soprano line.

Concerto-Cantata for Flute and Orchestra op. 65 (1992)

IV: mm. 46–49

Flute line at the close of the work.

Little Requiem for a Polka op. 66 (1993)

I: mm. 2–3

Opening theme in piano.

Third string quartet songs are sung op. 67 (1995/2005)

II: mm. 1–4

Cadence of opening phrase.

Three Songs of Maria Konopnicka op. 68 (1954, rev. 1995)

III

Found throughout the vocal melody.

Sanctus Adalbertus op. 72 (1997-2000)

I: mm. 21–22

Choir melody.

Five Kurpian Songs op. 75 (1999)

IV: m. 5

Secondary melody.

Lobgesang op. 76 (2000)

mm. 10–15; m. 25

Alto melody/refrain; in parallel fifths, F♯-G♯-A-G♯ and C♯-D♯-E-D♯ in choir.

For Jasiunia op. 79 (2003)

m. 3

Violin line.

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

II: mm. 32–33

Clarinet line.