Beneath the Surface - Panufnik centenary: Symphony no.6 (Sinfonia Mistica)

Introduction

'The title Sinfonia mistica reflects my deep fascination with the mystery and beauty of geometry', writes Panufnik, 'referring in this composition specifically to one figure which for me personally is a symbol of universal order and inner harmony.' His inspiration was not just geometrical, however. 'I wanted to convey to listeners some spiritual content, some contemplative and hidden messages by means of a meticulously structured framework, thought which I was trying to transcend the existing methods of composition.

The number SIX looms large everywhere – detailed in this entry on the Boosey & Hawkes website but there are no devilish connections, as far as we know. In the booklet notes to a fine new recording from the Polish Radio Symphony Orchestra and Lukasz Borowicz for CPO, Christoph Schlüren writes that Panufnik's account of the Sinfonia mistica's underlying structural principles 'reveals the composer entirely in his element, poised like a hermit between a medieval profession of faith and modern science'.

Panufnik completed the symphony in 1977, scoring it for a smaller orchestra of strings, double woodwind and two horns. Commissioned by the Northern Sinfonia, it was performed for the first time at the Queen Elizabeth Hall, London, in January 1978.

Verdict

Because of its geometric near-obsession, it is again difficult to separate the Sinfonia Mistica from the complicated reasoning behind its construction – so I found the best solution was to cast that aside and listen to the music.

Interestingly each of the six sections has tempo indications that begin with the word 'molto', which implies this will be a work of extremes. Sure enough, after a relatively serene introductory passage, the lower strings herald the start of something much more fractious, with repeated notes flung around the orchestra. This cuts to a slow and desolate section, before another set of repeated figures – this time three notes instead of two – is passed around the orchestra in staccato fashion. In fact the contrast between the sections becomes greater, so that the muffled fifth section is blown out of the water by a brightly scored finale, where again short staccato figures are the order of the day.

There is more rhythmic interest than melodic in this work, and because of that and the geometrical near-obsession, this is not the most immediately successful of Panufnik's symphonies – until you get to the end, where a forceful figure from the violins ensures an emphatic and extremely satisfying finish.

Recordings and Spotify link

The Sinfonia mistica is available in a recording from the Polish Radio Symphony Orchestra and Lukasz Borowicz - in vivid digital sound on CPO and on Spotify here

Next up: Metasinfonia