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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Lutoslaswki felt free to treat his basic ideas in a manner that did not put any curb on his creativity.

It is concluded with the ominous rumblings of the drums, double-basses and bass clarinet. Capriccio notturno ed Arioso: While much of the material used is folk orientated, no attempt was made to reproduce folk idioms. The first movement, entitled Intrada, is cast in an arch form composed of a number of sections: In turn, lrchestra the section Allegro giusto after Figure 61there appears for the first time material marked by the constant, rapid movement of the toccata.

The whole ends with a concise, impressive coda. Against the background of a bass beat we hear a orfhestra melody, concero its successive, increasingly complex versions are spread in the strings and woodwinds. 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 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.

The first theme returns in the lyrical ending of the Intradawhile the two others intertwine throughout conceeto movement. The return of the toccata is initiated by a section synthesising melodic structures appearing in this movement. In elaborating the folk material, he had recourse to musical tradition, using toccata and passacaglia forms as well as imitation lutosawski and enriching traditional elements with modern harmonies and instrumentation.

This brittle but brilliant work is enormously direct. Ultoslawski 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.


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

The three movements are: That period ended unexpectedly quickly, as can be seen in works composed shortly after the Concerto: By using this site, you agree to the Terms of Use and Privacy Policy.

Free use is made of all twelve notes, while sometimes the part writing suggests several simultaneous tonal planes. Concerto for Orchestra [Koncert na orkiestre]. Everywhere Shop Hire Library. The Toccata lutkslawski, only to give way to the Chorale once again.

Passacaglia, Toccata e Corale: 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 second movement is also in tripartite form and it displays a similar contrast between its outer sections based on the same material.

Our website uses cookies to give you the best possible experience. Whereas this first paragraph stems form a single idea that is handed over from one orcyestra of instruments to another, the texture gradually becoming more and more complex, the larger central panel is less limited in its material. Retrieved from ” https: In his Concerto for Orchestra he drew on several folk tunes from the Mazowsze region.

San Francisco Symphony – Lutosławski: Concerto for Orchestra

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. Andrzej Bauer Krzysztof akowski Piotr Paleczny. From Wikipedia, the free encyclopedia.

B and C and their variants. An energetic entry by the strings opens the Toccatawhich concfrto gives way to the Choralethe solemn theme of which is intoned by oboes and clarinets. 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 orchstra octave F sharps in cocnerto basses, kettle-drums and harps.

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Its last, triumphal passage is the climax of the work. Discography – Concerto for Orchestra [Koncert na orkiestre]. The composer moulds them into a different reality, lending them new harmony, adding atonal counterpoints, turning them into neo-baroque forms. The folklike Intrada, arresting in its propulsive rhythms, yields to the gossamer textures of the Fof notturno e Arioso.

Concerto for Orchestra is a virtuosic composition, requiring from the performers high technical efficiency and an ability to create contrasting moods. The arch form of the first movement contains two more alternating sections: 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 final vor provides a much condensed, quiet reprise of the opening one, the pedal F sharp now sounding in the high register. 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. It is followed by an expressive Arioso initiated by the brass section.

This page concsrto last edited on 13 Augustat The instruments have been alotted parts varying in character: The Concerto departs from convention in the matter of architecture, for no movement approximates, even remotely, to sonata form.

The majestic chords, alternating with a folk melody in solo instruments are presented in different colouristic arrangements. 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 second movement Capriccio notturno e arioso resembles a symphonic scherzo in character and structure. The concerto finishes with a dramatic flourish and climax from the whole orchestra.

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.