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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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They are coloured in new ways, owing to the instrumental, dynamic and textural transformations. Retrieved from ” https: B and C and their variants. 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 ebullient first movement seemed a perfectly constructed arch, and the second seethed and scurried with a precision that was almost effortless. This brittle but brilliant work is enormously direct. In his Concerto for Orchestra he drew on several folk tunes from the Mazowsze region.

It was given a slightly cool but very persuasive performance here. Discography – Concerto for Orchestra [Koncert na orkiestre]. It is concluded with the ominous rumblings of the drums, double-basses and bass clarinet. The three orchestga are: 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.

Free use is made of all twelve notes, while sometimes the part writing suggests several simultaneous tonal planes. The whole ends with a lutosawskii, impressive coda. He also endowed them with a new musical sense by presenting them in the context of different melodic and harmonic content. 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.

The folklike Intrada, arresting in its propulsive rhythms, yields lutsoawski the gossamer textures of the Capriccio notturno e Arioso.

Rowicki, at that time chief conductor of the Warsaw Philharmonic Orchestra, asked him to compose a large virtuoso concetto for the orchestra, based on folk themes. Jadwiga Paja-Stach translated by Ewa Cholewka. The beginning of the work leaves us in no doubt that it is a composition written on a grand scale. 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 first section of the finale is an elaborate Passacaglia. 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 concerro 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.

Concerto is a work of rich instrumental colour and lively musical action embracing a wide range of moods and emotions. Concerto for Orchestra [Koncert na orkiestre].

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. The concerto finishes with a dramatic flourish and climax from the whole orchestra.

An analogous section A1 ends the Intrada. 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.

Andrzej Bauer Krzysztof akowski Piotr Paleczny. While much of the material used is folk orientated, no attempt was made to reproduce folk idioms. 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. The very condensed reprise of the first part finally peters out on divided double basses and drums of different sizes.

Capriccio notturno ed Arioso: 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.


Concerto for Orchestra (Lutosławski) – Wikipedia

The reprisal of the capriccio is intoned by the cellos and harp, the theme bowed, then with pizzicato. The first theme returns in the lyrical ending of the Intradawhile the two others intertwine throughout the movement.

The composer moulds them into ordhestra different reality, lending lutosawsik new harmony, adding atonal counterpoints, turning them into neo-baroque forms.

The work starts with a theme in cellos based on a Masovian song. He transformed these melodies by changing their rhythms and by subjecting them to colouristic alterations through varied instrumentation. The majestic chords, alternating with a folk melody in solo instruments are presented in different colouristic arrangements. Vivace — the Capriccio is an airy, virtuoso scherzothe main subject of ltosawski is intoned by the violin, followed by the remainder of the strings and woodwinds.


These fragments are referred to as Capriccio notturno. The differences consist in a different instrumental elaboration of the same folk song, heard now in solo woodwind instruments and solo violins, fir parts for these instruments meandering in contrapuntal entanglements against the background of a high-register f sharp.

Lutoslawski: Concerto for Orchestra, etc.

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 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.

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.

That period ended unexpectedly quickly, as can be seen in works composed shortly after the Concerto: Andante con moto — Allegro giusto — in three sections: The Concerto departs from convention in the matter of architecture, for no movement approximates, even remotely, to sonata form.

Lutoslaswki felt free to treat his basic ideas in a manner that did not put any curb on his creativity. Its last, triumphal passage is the climax of the work. 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.

Its climax is marked by the second theme presented by the full orchestra. The first movement, entitled Intrada, is cast in an arch form composed of a number of sections: 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.