ABSTRACT
Like other elements of his compositional techniques, Panufnik’s harmonic language is subject to strict discipline. The range of chords used across the span of a work is most often defined by the potential of the interval cell that is at its root. The composer deliberately restricts his harmonic language so as to avoid dense, complicated layers of sound. Panufnik’s harmony is neither tonal, 1 nor fitting any of the twentieth-century avant-garde fashions. In this context he is far from inclined towards dodecaphony (though certain elements of his creative methods reflect the work of some 12-note composers, particularly Webern), 2 and does not overly burden his compositions with an exaggerated dissonance by, for example, employing sound clusters. He only rarely uses quarter-tones. 3 His own harmonic language, which he gradually developed, in which symmetry also plays a very significant role, is notable for its originality and, together with other elements, gives his music its particular atmosphere and character.
