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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Ninateka – Three composers – Concerto for Orchestra (dir. Witold Lutosławski)
They are coloured in new ways, owing to the instrumental, dynamic and textural transformations. Newsletter PWM Sign up. The resulting Concerto for Orchestra took nearly four years to complete. The fot of the toccata is initiated by a section synthesising melodic structures appearing in this movement. The score calls for three flutes two doubling piccolothree oboes one doubling cor anglais orchsstra, three clarinets one doubling bass clarinetthree bassoons one doubling contrabassoonfour hornsfour trumpetsfour trombonestubatimpanisnaretenor and bass drumcymbalstambourinetam-tamxylophonebellscelestatwo harpspiano and strings.
In the section using the formal model of the passacaglia, lutosawwki 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 double basses with harp, through increasingly lighter colours to a two-tiered orchestral tutti, in which the theme is accompanied by a fog layer of ”rushing”, ”brilliant” figurations.
That period ended unexpectedly quickly, as can be seen in works composed shortly after the Concerto: 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.
Jadwiga Paja-Stach translated by Ewa Cholewka.
Lutosławski: Concerto for Orchestra
The third movement Passacaglia, toccata e corale is the most artistically xoncerto movement containing at the same time a feature characteristic of the composers late works, namely a chain-like combination of musical motifs. It is concluded with the ominous rumblings of the drums, double-basses and bass clarinet. Retrieved from ” https: Lutoslaswki felt free to treat his basic ideas in a manner that did not put any curb on his creativity.
The ebullient first movement concerti a perfectly constructed arch, and the second seethed and scurried with a precision that was almost effortless. 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.
An energetic entry by the strings opens the Toccatawhich then gives way to the Choralethe solemn theme lutosawsoi which is intoned by oboes and clarinets. Concerto for Orchestra is a virtuosic composition, requiring from the performers high technical efficiency and an ability to create contrasting moods. The first movement, entitled Intrada, is cast in an arch form composed of a number of sections: This page was last edited on 13 Augustat 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.
Passacaglia, Toccata e Corale: 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.
Its climax is marked by the second theme presented by the full orchestra.
Concerto for Orchestra (dir. Witold Lutosławski) – Three composers – Ninateka
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 second movement opens and ends with brilliant playing by strings and woodwinds, seconded by snare drum, celesta and harp. The final section provides a much condensed, quiet reprise of the opening one, the pedal F sharp now sounding in the high register.
The second movement is also in tripartite form lutosaweki it displays a similar contrast between its outer sections based on the same material. 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.
Witold Lutosławski – Concerto for Orchestra [Koncert na orkiestre] () – Music Sales Classical
The Toccata returns, only to give way lutossawski the Chorale once again. It was given a slightly cool but very persuasive performance here. 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.
The three movements are: This brittle but brilliant work is enormously direct. Music Education Day Check.
The Concerto departs from convention in the matter of lutosawskki, for no movement approximates, even remotely, to sonata form.
The lengthy concluding Passacaglia, Toccata e Corale, an intricate study lutodawski regenerating and reshaping primary materials, may be the most invigorating 16 minutes in contemporary music.