Krzysztof Penderecki: An Existential Semiotic Study of His Sonoristic Works and Cello and Orchestra Concerto No. 2

This paper presents the first application of semiotic theories by Eero Tarasti—and particularly of the so-called existential semiotics—to the music by the avant-garde composer Krzysztof Penderecki. Using the zemic analysis of four works: Threnody to the Victims of Hiroshima, Anaklasis, Fluorescences and Cello Concerto No. 2, the author shows the connection of music—albeit it be as ‘absolute’ as ever—to a certain fundamental semantics, which is present and imprinted in everything what the human mind invents and produces. Yet, the meanings which emerge here like by themselves and organically without any reference to the world of Dasein are in constant flow and alternating, causing the constant variability of the weighs and underlinings of the four elements of the zemic. Even in such an abstract music like sonorism one can find elements of zemic and log-zemic.