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.
|Published (Last):||6 April 2008|
|PDF File Size:||7.42 Mb|
|ePub File Size:||3.63 Mb|
|Price:||Free* [*Free Regsitration Required]|
Newsletter PWM Sign up.
Lutoslaswki felt free to treat his basic ideas in a manner that did not put any curb on his creativity. The work starts with a theme in cellos based on a Masovian song. 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 composer moulds them into a different reality, lending them new harmony, adding atonal counterpoints, turning them into neo-baroque forms.
San Francisco Symphony – Lutosławski: Concerto for Orchestra
The ebullient lutosawdki movement seemed a perfectly constructed arch, and the second seethed and scurried with a precision that was almost effortless. The majestic chords, alternating with a folk melody in solo instruments are presented in different colouristic arrangements. Concerto for Orchestra is a virtuosic composition, requiring from the performers high technical efficiency and an ability to create contrasting moods.
The second movement is also in tripartite form and it displays a similar contrast between its outer sections based on the same material. The folklike Intrada, arresting in its propulsive rhythms, yields to the gossamer textures of the Capriccio notturno e Arioso. The Concerto departs from convention in the matter of architecture, for no movement approximates, even remotely, to sonata form.
Retrieved from ” https: Lutosawksi beginning of the work leaves us in no doubt that it is a composition written on a grand scale.
While much of the material used is folk orientated, no attempt was made to reproduce folk idioms. The very condensed reprise of the first part finally peters out on divided double basses and concerfo of different sizes. The B section contains motifs of a new folk melody, appearing in the score with the expression cantando, whereas the C section starting from Figure 6 consists of freely composed material.
Concerto for Orchestra (Lutosławski) – Wikipedia
The first movement, entitled Intrada, is cast in an arch form composed of a number of sections: It is concluded with the ominous rumblings of the drums, double-basses and bass clarinet. Jadwiga Paja-Stach translated by Ewa Cholewka. 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. Concerto for Orchestra is characterised by clarity of form and a dynamic musical action, the climax of which occurs in the third and last movement of the work.
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 arch form of the first movement contains two more alternating sections: 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.
This page was last edited on 13 Augustat Free use is made of all twelve notes, while sometimes the part writing suggests several simultaneous tonal planes. Its last, triumphal passage is the climax of the work. The second movement opens and ends with brilliant playing by strings and woodwinds, seconded by snare drum, celesta and harp. 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.
An analogous section A1 ends the Intrada.
Concerto for Orchestra (Lutosławski)
It was given a slightly cool but very persuasive performance here. Capriccio notturno ed Arioso: The instruments have been alotted parts varying in character: An energetic entry by the strings opens the Toccatawhich then gives way to the Choralethe solemn theme of orcestra is intoned by oboes and clarinets. The final section provides a much condensed, quiet reprise of the opening one, the pedal F sharp now sounding in the high register.
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. Music Education Day Check.
Concerto is a work of rich instrumental colour and lively musical action embracing a wide range of moods and emotions. Views Read Edit View history. The concerto finishes with a dramatic flourish and climax from the whole orchestra. The first section of the finale is an elaborate Passacaglia.
Lutosławski: Concerto for Orchestra
In the section using the formal model of the passacaglia, the composer took as his theme a variant of a folk melody, which assumes various colouristic shades evident in a dozen varied instrumental combinations, ranging from the dark colour of kutosawski 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.
Everywhere Shop Hire Library. Soon another variant of this theme appears, a singing melody of the horn that sharply contrasts with a new idea — a sequence of falling sixths. The theme is revealed in increasingly higher registers of string instruments and then in a group of woodwind instruments in perfect fifth transpositions, all this against the background of continuously sounding octave F sharps in double basses, kettle-drums and harps. In elaborating the folk material, he had recourse to musical tradition, using toccata and passacaglia forms lutksawski well as imitation technique and enriching traditional elements with modern harmonies and instrumentation.