Ramifications represents a further development of my method of composition with complex musical net-formations. it is, as it were, a terminus in the development from dense and static to broken-up and mobile. The title refers to the polyphonic technique of the part-writing. in one skein, individual parts that are twisted together move in divergent directions so that the strand of the voice gradually become disentangled. The total form is made up of the alternation of ramification and unification of the parts and of the rents or bunching together of the net-formation that ensues from this. And as well as that, there are in this piece new aspects of a micro-tonal harmony. Even earlier I was occasionally working with deviations from the equal temperament (Requiem, Volumina, Harmonies, Second String Quartet). But what is new here is the consistent application of an idea of hyperchromatic harmony. This is made possible by one half of the string instruments being tuned a quarter-tone higher than the others. From the automatically ensuing differences in intonation when the instruments are played, arises a fluctuation in pitch such that one can hardly ever hear exact quarter-tone intervals. In only a few dense places approximative quarter-tone clusters result. apart from that we find a totally new kind of uncertain harmony, as though the harmonies had rotted: thex have a strong taste and decay has permeated the music.
- Gyorgy Ligeti.

Hans Werner Henze has composed several film scores for Volker Schlondorff's literary adaptations. 'In 1966 I wrote the music of Volker Schlondorff's first film Der junge Torless. I then thought the sound of the old early instruments that I chose could be understood as a metaphor for the early immature, almost childishly youthful and endangered of the protagonists of Musil's novella. Later I arranged several pieces from the score for string sextet and even made a string orchestra version of it.' (Hans Werner Henze).

The famous elaborate film opus The Saragossa Manuscript by Polish director Wojciech Jerzy Has revels in montages of time and space to which Penderecki's electronic sound landscapes contribute to the mood of each individual acoustic atmosphere. For scenes in a baroque or even rococo-like atmosphere, Penderecki composed the Drei Stucke im alten Stil for string orchestra: a beautiful, yet sad aria (lento) and two powerful minuets.

New Urtext Edition.

The famous elaborate film opus The Saragossa Manuscript by Polish director Wojciech Jerzy Has revels in montages of time and space to which Penderecki's electronic sound landscapes contribute to the mood of each individual acoustic atmosphere. For scenes in a baroque or even rococo-like atmosphere, Penderecki composed the Drei Stucke im alten Stil for string orchestra: a beautiful, yet sad aria (lento) and two powerful minuets.