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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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The three movements are: The reprisal of the capriccio is intoned by the cellos and harp, the theme bowed, then with pizzicato. 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.

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. This page was last edited on 13 Augustat Discography – Concerto for Orchestra [Koncert na orkiestre]. The arch form of the first movement contains two more alternating sections: From Wikipedia, the free encyclopedia.

Views Read Edit View history. Retrieved from ” https: 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.

San Francisco Symphony – Lutosławski: Concerto for Orchestra

The Toccata returns, only to give way to the Chorale once again. Everywhere Shop Hire Library. B and C and their variants. Its climax is marked by the second theme presented by the full orchestra.

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

Our website uses cookies to give orfhestra the best possible experience. The whole ends with a concise, impressive coda. The third movement Passacaglia, toccata e corale is the most lutoslawskki constructed movement containing at the same time a feature characteristic of the composers late works, namely a chain-like combination of musical motifs.


The ebullient first movement seemed a perfectly constructed arch, and the second seethed and scurried with a precision that was almost effortless.

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 instruments have been alotted parts varying in character: He transformed these melodies by changing their rhythms and by subjecting them to colouristic alterations through varied instrumentation. These fragments are referred to lutoslaeski Capriccio notturno. Passacaglia, Toccata e Corale: The final section provides a much condensed, quiet reprise of the opening one, the pedal F sharp now sounding in the high register.

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 return of the toccata is initiated by a section synthesising melodic structures appearing in this movement. Its last, triumphal passage is the climax of the work. Andante con moto — Allegro giusto — in three sections: It is followed by an expressive Arioso initiated by the brass section. Lutoslaswki felt free to treat his basic ideas in a manner that did not put any curb on his creativity. Orchfstra much of the material used is folk orientated, no attempt was made to reproduce folk idioms.

Newsletter PWM Sign up. The first theme returns in the lyrical ending of the Intradawhile the two others intertwine throughout lutoslawdki movement. He also endowed them with a new musical sense by presenting them clncerto the orchestrw of different melodic and harmonic content.

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.

This brittle but brilliant work is enormously direct. Concerto for Orchestra is characterised orcbestra clarity of form and a dynamic musical action, the climax of which occurs in the third and last movement of the work. Successive presentations of its theme begin and end at different moments from the variations overlapping each other like links of a chain[K1].


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Lutosławski: Concerto for Orchestra

Concerto for Orchestra [Koncert na orkiestre]. 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 second movement is also in tripartite form and it displays a similar contrast between its outer sections based on the same material. 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.

Lutosławski Witold, Concerto For Orchestra

Whereas this first cobcerto 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.

Works by categories Orchestral Symphonic orchestra Chamber orchestra Concreto orchestra Wind orchestra Instrument solo with orchestra ensemble Vocal-instrumental music Electronic music Stage works Music for children Sacred Music. Music Education Day Check. The score calls for three conncerto 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.

In his Concerto for Orchestra he drew on several folk tunes from the Mazowsze region.