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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Works by categories Orchestral Symphonic orchestra Chamber orchestra String orchestra Wind orchestra Instrument solo with orchestra ensemble Vocal-instrumental music Electronic music Stage works Music for children Sacred Music.
San Francisco Symphony – Lutosławski: Concerto for Orchestra
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.
Views Read Edit View history. Concerto for Orchestra [Koncert na orkiestre]. The finale contains many spectacular effects such as the harp glissandos, the tremolandos concsrto the piano and other instrumental comcerto as well conccerto rapid passages with forte fortissimo dynamics.
The folklike Intrada, arresting in its propulsive rhythms, yields to the gossamer textures of the Capriccio notturno e Arioso. 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. The second lutoslawwki Capriccio notturno e arioso resembles a symphonic scherzo in character and structure.
Against the background of a bass beat we hear a distinctive conecrto, then its successive, increasingly complex versions are spread in the strings and woodwinds. Its climax is marked by the second theme presented by the full orchestra. The three movements are: 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 first section of the finale is an elaborate Passacaglia.
The score calls for three flutes two doubling piccolothree oboes one doubling cor anglaisthree clarinets one doubling bass clarinetthree bassoons one doubling contrabassoonfour hornsfour trumpetsfour trombonestubatimpanisnaretenor and bass drumcymbalstambourinetam-tamxylophonebellscelestatwo harpspiano and strings. 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.
The first theme returns in the lyrical ending of the Intradawhile the two others intertwine throughout the movement.
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 orchsetra material. In his Concerto for Orchestra he drew on several fir tunes from the Mazowsze region. The final section provides orcchestra much condensed, quiet reprise of the opening one, the pedal F sharp now sounding in the high register.
In turn, in the section Allegro giusto after Figure 61lutsolawski appears for the first time material marked by the constant, rapid movement of the toccata. It was given a slightly cool but very persuasive performance here. The composer moulds them into a different reality, lending them new harmony, adding atonal counterpoints, turning them into neo-baroque forms. Lutoslaswki felt free to treat his basic ideas in a manner that did not put any curb on his creativity.
In elaborating the folk material, he had recourse to musical tradition, using toccata and passacaglia forms concergo well as imitation technique and enriching traditional elements with modern harmonies and instrumentation.
The very condensed reprise of the first part finally peters out on divided double basses and drums of different sizes. The ebullient first movement seemed a perfectly constructed arch, and the second seethed and scurried with a precision that was almost effortless.
Vivace — the Capriccio is an airy, virtuoso scherzothe main subject of which is intoned by the violin, followed by the remainder of the strings and woodwinds.
The return of the toccata is initiated by a section synthesising melodic structures appearing in this movement. He also endowed them with a new musical sense by presenting them in the gor of different melodic and harmonic content. Capriccio notturno ed Arioso: It is concluded with the ominous rumblings of the drums, double-basses and bass clarinet.
The reprisal of the capriccio is intoned by the cellos and harp, the theme bowed, then with pizzicato. Concergo use is made of all twelve notes, while sometimes the part writing suggests several simultaneous tonal planes.
Retrieved from ” https: Passacaglia, Toccata e Corale: Discography – Concerto for Orchestra [Koncert na orkiestre].
Lutoslawski: Concerto for Orchestra, etc.
Successive presentations of its theme begin and end at different moments from the variations overlapping each other like links of a chain[K1]. Newsletter PWM Sign up. In the section using the formal model of the passacaglia, the luoslawski took as his theme a variant of a folk melody, which assumes various colouristic ljtoslawski evident in a dozen varied instrumental combinations, ranging from the dark colour of double basses with harp, through increasingly lighter colours to a two-tiered orchestral tutti, in which the theme is accompanied by a mobile layer of ”rushing”, ”brilliant” figurations.
The Toccata returns, only to give way to the Chorale once again.
Lutosławski: Concerto for Orchestra
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.
An analogous section A1 ends the Intrada. The second movement opens and ends with brilliant playing by strings and woodwinds, seconded by snare drum, celesta and harp. That period ended unexpectedly quickly, as can be seen in works composed shortly after the Concerto: