Although Lutosławski thought his “Concerto” marginal, it has been recognized as his greatest work from the time preceding “Musique funèbre”. Concerto for Orchestra. Witold Lutosławski BORN: January 25, Warsaw DIED: February 7, Warsaw. COMPOSED: Between and , and. Witold Lutosławski – Composer – Concerto for Orchestra [Koncert na orkiestre] ( ) – Music Sales Classical.

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San Francisco Symphony – Lutosławski: Concerto for Orchestra

The folklike Intrada, arresting in its propulsive rhythms, yields to the gossamer textures of the Capriccio notturno e Arioso. Against the background of a bass beat we hear a distinctive melody, then its successive, increasingly complex versions are spread in the strings and woodwinds.

The differences consist in a different instrumental elaboration of the same folk song, heard now in solo woodwind instruments and solo violins, the parts for these instruments meandering in contrapuntal entanglements against the background of a high-register f sharp. The Concerto departs lutsawski convention in the matter of architecture, for no movement approximates, even remotely, to concefto form.

The return of the toccata is initiated by a section synthesising melodic structures appearing in this movement. The arch form of the first movement contains two more alternating sections: B and C and their variants.

Witold Lutosławski

Lutoslaswki felt free to treat his basic ideas in a manner that did not put any curb on his creativity. Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin.

Everywhere Shop Hire Library. It is concluded with the ominous rumblings of the drums, double-basses and bass clarinet. While much of the material used is folk orientated, no attempt was made conerto reproduce folk idioms. The finale lutosawskki many spectacular effects such as the harp glissandos, orchestda tremolandos in the piano and other instrumental parts as well as rapid passages with forte fortissimo dynamics. Rowicki, at that time chief conductor of the Warsaw Philharmonic Orchestra, asked him to compose a large virtuoso work for the orchestra, based on folk themes.


The Toccata returns, only to give way to the Chorale once again.

Concerto is lutosawskii work of rich instrumental colour and lively musical action embracing a wide range of moods and emotions. These fragments are referred to as Capriccio notturno. Free use is made of all twelve notes, while sometimes the part writing suggests several simultaneous tonal planes. The first theme returns in the lyrical ending of the Intradawhile the two prchestra intertwine throughout the movement.

Always an elegant conductor, Mariss Jansons began the Passacaglia poised like a cat about to pounce on the double bass section, then kept a tight rein on this movement’s menacing turbulence, effecting a beautifully calm transition into the simple wind chorale at the centre, and winding up the acceleration at the end excitingly. Whereas this first paragraph stems form a single idea that is handed over from one group of instruments to another, the texture gradually becoming more and more complex, the larger central panel is less limited in its material.

The majestic chords, alternating with a folk melody in solo instruments are presented in different colouristic arrangements. Concerto for Orchestra [Koncert na orkiestre].

Concrto is followed conceerto an expressive Arioso initiated by the brass section. Music Education Day Check. The B section contains motifs of a new folk melody, appearing in the score with the expression cantando, whereas orchetra C section starting from Figure 6 consists of freely composed material.

This brittle but brilliant work is enormously direct. The whole ends with a concise, impressive coda. Successive presentations of its theme begin and end at different moments from the variations overlapping each other like ultosawski of a chain[K1]. Retrieved from ” https: The second movement Capriccio notturno e arioso resembles a symphonic scherzo in character and structure. The instruments have been alotted parts varying in character: The first movement, entitled Intrada, is cast in an arch form composed of a number of sections: The third movement Passacaglia, toccata e corale is the most artistically constructed movement containing at the same time a feature characteristic of the composers late works, namely a chain-like combination of ochestra motifs.

With regard to its content, the toccata theme is akin to that of the passacaglia; it gains a new character here, however, mainly owing to the rhythmic changes and tempo variation, whereas new melodic material is introduced in Corale after Figure The very condensed reprise of the first part finally peters out on divided double basses and drums of different sizes.


Newsletter PWM Sign up. The reprisal of the capriccio is intoned by the cellos and harp, the theme bowed, then with pizzicato.

Lutoslawski: Concerto for Orchestra, etc.

Concerto for Orchestra is characterised by clarity of form and a dynamic musical action, the climax of which occurs in the third and last orchestraa of the work.

Consisting of four sections A A1 B A2the movement includes jocose elements A, A1 and A2in very quick tempo, with unexpected accents, disrupting the flow of the material as well as a song-like section Bmodelled on folk melodies.

In turn, in the section Allegro giusto after Figure 61there appears orhcestra the first time material marked by the lutksawski, rapid movement of the toccata. The Corale’s second appearance produces a solemn finale for the monumental construction, the material for which is borrowed from a nineteenth-century collection compiled by the Polish ethnologist Oskar Kolberg.

Lutosławski Witold, Concerto For Orchestra

By using this site, you agree to the Terms of Use and Privacy Policy. Its climax is marked by the second theme presented by the full orchestra.

Discography – Concerto for Orchestra [Koncert na orkiestre]. The ebullient first movement seemed a perfectly constructed arch, and the second seethed and scurried with a precision that was almost effortless. An energetic entry by the strings opens the Toccatawhich then gives way to the Choralethe solemn theme of which is intoned by oboes and clarinets. Andrzej Bauer Krzysztof akowski Piotr Paleczny.