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

Beneath the Surface - Panufnik centenary: Symphony no.5 (Sinfonia di Sfere)

Introduction

Panufnik's symphonic output now has an explicit preoccupation with geometry – and for the Sinfonia di sfere of 1975 the composer drew a figure of the overall design, reproduced with thanks to his publisher Boosey & Hawkes:

If that looks remarkably complex, Panufnik offers a written explanation in addition. 'The title has no connection,' he says, 'with the philosophy of Pythagoras ("music of the spheres"), nor with astrology (unlike the planets which inspired Gustav Holst)' Instead, Sinfonia di sfere uses spheres of 'contemplative thoughts and emotions', or spheres that act as a framework 'enclosing meticulously organised musical material'. This was to become a preoccupation in further symphonic works, the need for a higher form of structure and organisation – and in this case, the hope that 'the listener might perhaps experience a kind of ascent into spheres of contemplative thoughts and feelings'.

Verdict

It is helpful to follow the diagram when listening to the Sinfonia di sfere, as I found it a more difficult work to listen to without it. For this is probably Panufnik's most experimental symphony, despite its seemingly rigorous structural control.

It is by some distance his most percussive, for the 'orchestral sphere' allows for 12 untuned drums to the orchestra, four to each player. In addition it contains solo roles for trumpet, horn, trombone and tuba. The percussive element is an eye-opener, because the massive rolling drums dominate the second, fifth and last of the nine sections. This in turn inspires the strings to drive forward purposefully, and the music has great momentum here.

Yet when the tempo subsides the mood is quite acerbic, as it is at the start, reprising some of the more awkward and fractious moments of the Sinfonia Sacra. This leads to a longer trombone solo that has quite a mournful tone. The third section is downbeat too, with the tuba to the fore.

In all truth this is the symphony I have struggled with the most so far, not on account of its form but its relative lack of motifs and melodies that are easy for the listener to cling on to. The Sinfonia di sfere is exciting for sure, but ultimately less satisfying.

Recordings and Spotify link

My references for the Sinfonia di sfere were two recordings - the Tampere Philharmonic Orchestra conducted by John Storgårds on the Ondine label, and the Polish Radio Symphony Orchestra under Lukasz Borowicz, part of the new CPO series. Both are excellent, though the Ondine version shades it just for the excellent recorded sound.

Next up: Sinfonia mistica