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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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. Free use is made of all twelve notes, while sometimes the part writing suggests several simultaneous tonal planes. Ochestra 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.

Soon another variant of this theme appears, a singing melody of the horn that sharply contrasts with a new idea — a sequence lutoslawdki falling sixths. Jadwiga Paja-Stach translated by Ewa Cholewka.

San Francisco Symphony – Lutosławski: Concerto for Orchestra

The first section of the finale is an elaborate Passacaglia. Views Read Edit View history.

That period ended unexpectedly quickly, as can be seen in works composed shortly after the Concerto: An analogous section A1 ends the Intrada. The differences consist in a different instrumental elaboration of the same folk song, heard now in concertl woodwind instruments and solo violins, the parts for these instruments meandering in contrapuntal entanglements against the background of a high-register f sharp.

In elaborating the folk material, he had recourse to musical tradition, using toccata and passacaglia forms as well as imitation technique and enriching traditional elements with modern harmonies and instrumentation. Continue using the site as normal or read our Privacy Policy. Capriccio notturno ed Arioso: Our website uses cookies to give you the best possible experience.


Witold Lutosławski – Concerto for Orchestra [Koncert na orkiestre] () – Music Sales Classical

Newsletter PWM Sign up. He transformed these melodies by changing their rhythms and by subjecting them to colouristic alterations through varied instrumentation. Concerto is a work of rich instrumental colour and lively musical action embracing a wide range of moods and emotions. The Concerto departs from convention in the matter of architecture, for no movement approximates, even remotely, to sonata form.

Retrieved from ” https: Update Required To lutoslawsi the media you will need to either update your browser to a recent version or update your Flash plugin. The folklike Intrada, arresting in its propulsive rhythms, yields to the gossamer textures of the Capriccio notturno e Arioso.

He also endowed them with a new musical sense by presenting them in the context of different melodic and harmonic content. While much of the material used is folk orientated, no attempt was made to reproduce folk idioms. 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 instruments have been alotted parts varying in character: 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 lutodlawski 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.

Its last, triumphal passage is the climax of the work. They are coloured in new ways, owing to the instrumental, dynamic and textural transformations.


B and C and their variants. The work starts with a theme in cellos based on a Masovian song.

Ninateka – Three composers – Concerto for Orchestra (dir. Witold Lutosławski)

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. This page was last edited on 13 Augustat The return of the toccata lutlslawski initiated by a section synthesising melodic structures appearing in this movement.

In turn, in the section Allegro giusto after Figure 61there appears for the first time material marked by the constant, rapid movement of the toccata. Discography – Concerto for Orchestra [Koncert na orkiestre].

Andante con moto — Allegro giusto — in three sections: Everywhere Shop Hire Library. The second movement is also in tripartite form and it displays a similar contrast between its outer sections based on the same material. The three movements are: 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 resulting Concerto for Orchestra took nearly four years to complete.

The reprisal of the capriccio is intoned by the cellos and harp, the theme bowed, then with pizzicato. Music Education Day Check.