Dialog w Sonacie na dwoje skrzypiec op. 10 Henryka Mikołaja Góreckiego z perspektywy wykonawcy
Dialogue in Sonata for Two Violins Op. 10 by Henryk Mikołaj Górecki from a Performer’s Perspective

Summary/Abstract: The article aims at defining the specificity of dialogue in Sonata for two violins Op. 10 by Hen- ryk Mikołaj Górecki from the point of view of the performer. This piece, though created in the early period of the composer’s career, belongs to important examples of this genre in 20th century Euro- pean music. With regard to the declared aim, various versions of the dialogue in this sonata were examined. The issue of dialogue in the discussed piece is presented in the context of the individual composer’s style. In order to address the core matter, the analysis of all three movements of the sonata cycle was carried out in terms of different forms of dialogue between the two violins.Górecki’s Sonata represents very interesting types of dialogic communication, conveying vari- ous emotional contents: from rivalry to harmony, from expression – sometimes utterly harsh – to joint reflection, from grotesque to contemplation. This piece features a rich sound coloring, which the Master achieves through sonoristic effects and extensive use of dissonant consonances and dy- namic contrasts. The piece shows also an excellent sense of the sound space in which the soloists perform. Spatial changes effects are achieved by means of, among other things, rapid shifts from the lowest registers to the highest ones. The “instrumental drama” is accompanied by colorful “dec- orations”, with a wide range of feelings typical of Górecki. The parts of two violins carry outa polyphonic narration. The voices of each “protagonist” receive a different reaction in their vis-à-vis, and in the last part they unite in an expressive, unrestrained dance movement. It is pre- cisely this variety of musical material and the dialogues of the soloists in different categories of perspectives that provide this piece with an intensity of empathic experiences, evoked both in lis- teners and in performers.

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