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. It is followed by an expressive Arioso initiated putosawski the brass section.
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 instruments have been alotted parts varying in character: Concerto is a work of rich instrumental colour and lively musical action embracing orhcestra wide range of moods and emotions. The reprisal of the capriccio is intoned by the cellos and harp, the theme bowed, then with pizzicato.
In his Concerto for Orchestra he drew on several folk tunes from the Mazowsze region. The composer moulds them into a foncerto reality, lending them new harmony, adding atonal counterpoints, turning lutosawskl into neo-baroque forms. Concerto for Orchestra [Koncert na orkiestre]. He also endowed them with a new musical sense by presenting them in the context of different melodic and harmonic content. Jadwiga Paja-Stach translated by Ewa Ofr. They are coloured in new ways, owing to the instrumental, dynamic and textural transformations.
The beginning of the work leaves us in no doubt that it is a composition written on a grand scale. The three movements are: The lengthy concluding Passacaglia, Toccata e Corale, an intricate study in regenerating and reshaping primary materials, may be the most invigorating 16 minutes in contemporary music.
Andrzej Bauer Krzysztof akowski Piotr Paleczny. The folklike Intrada, arresting in its propulsive rhythms, yields to the gossamer textures of the Capriccio notturno e Arioso.
He transformed these melodies by changing their rhythms and by subjecting them to colouristic alterations through varied instrumentation. 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. It is concluded with the ominous rumblings of the drums, double-basses and bass clarinet.
The theme is revealed in increasingly higher registers of string instruments lutosawskk 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.
These fragments are referred to as Capriccio lutoswwski. 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 finale contains many spectacular effects such as the harp glissandos, the tremolandos in the piano and other instrumental parts as well as rapid passages with forte fortissimo dynamics. The arch form of the first movement contains two more alternating sections: 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 Retrieved from ” https: The second movement opens and ends with brilliant playing by strings and woodwinds, seconded by snare drum, celesta and harp.
It was given a slightly cool but very persuasive performance here. This page was last edited on 13 Augustat The concerto finishes with a dramatic flourish and climax from the whole orchestra. Free use is made of all twelve notes, while sometimes the part writing suggests several simultaneous tonal planes.
Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin. The return of the toccata is initiated by a section synthesising melodic structures appearing in this 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 lutosawsku transition into the simple wind chorale at the centre, and winding up the acceleration at the end excitingly.
The ebullient first movement seemed a perfectly constructed arch, and the second seethed and scurried with a precision that was almost effortless.
Lutosławski Witold, Concerto For Orchestra
The first movement, entitled Intrada, is cast in an arch form composed of a number of sections: From Wikipedia, the free encyclopedia. B and C and their variants.
Andante con moto — Allegro giusto — in three sections: 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 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.
Passacaglia, Toccata e Corale: The whole ends with a concise, impressive coda. Views Read Edit View history. Everywhere Shop Hire Library. 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. 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 second movement is also in tripartite form and it displays a similar contrast between its outer sections based on the same material. 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 musical motifs.
The final section provides a much condensed, quiet reprise of the opening one, the pedal F sharp now sounding in the high register.
Ninateka – Three composers – Concerto for Orchestra (dir. Witold Lutosławski)
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 second movement Capriccio notturno e arioso resembles a symphonic scherzo in character and structure. The first theme returns in the lyrical ending of the Intradawhile the two others intertwine throughout the movement.