Variations for small string orchestra (1979–1980)
The 1972 saw the founding of the Polish Chamber Orchestra conducted by Jerzy Maksymiuk and soon hailed as the best chamber orchestra in the country. Mycielski admired the ensemble’s performances and planned to compose a work especially for the PCO, to which he was apparently encouraged by Maksymiuk himself. This is confirmed by a fragment of Mycielski’s letter to Andrzej Panufnik: “I had a meeting with Maksymiuk – if you could see his eyes and how moved he was, when I told him you wanted to have his tape! – (he is waiting for my variations, which in turn moves me!)” (letter of 24 February 1980, Zygmunt Mycielski – Andrzej Panufnik. Korespondencja, cz. 2: Lata 1970–1987, ed., introduction and comments Beata Bolesławska-Lewandowska, Institute of Art, Polish Academy of Sciences 2018, p. 157).
Mycielski got down to work in the spring of 1979 and the result was a cycle of eight variations dedicated to his American friend Mima Porter. Her hospitable Californian ranch became a place where Mycielski could compose in comfort during his visits to the United States.
The composer called the presentation of the theme “exposition”. It begins with a small introduction, after which the violas (with a counterpoint provided by the violins and then the full string ensemble) introduce the calm melody of the theme. Initially, the main role in its intervallic structure (like in the counterpoint material) is played by seconds and their inversions. In the following eight variations the composer first deconstructs the theme, presenting it in the form of isolated notes scattered in the cello and viola parts, only to gradually build increasingly full sounds out of this openwork texture. To this end he divides the various instrument groups and – consequently – develops the narrative in the manner of the concertante technique. All this makes the composition hard to perform, which has led to its absence from concert halls.