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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It is concluded with the ominous rumblings of the drums, double-basses and bass clarinet.
Concerto for Orchestra (Lutosławski)
Retrieved from ” https: The second movement opens and ends with brilliant playing by strings and woodwinds, seconded by snare drum, celesta and harp. It is followed by an expressive Arioso initiated by the brass section. An analogous section A1 ends the Intrada. Newsletter PWM Sign up. The second movement is also in tripartite form and it displays a similar contrast between its outer sections based on the same material.
Its last, triumphal passage is the climax of the work. Discography – Concerto for Orchestra [Koncert na orkiestre]. 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 Successive presentations of its theme ofchestra and end at different moments from the variations overlapping each other like links orchestrra a chain[K1].
The differences consist in a different instrumental elaboration of the same cconcerto song, heard now in solo woodwind instruments and solo violins, the parts for these instruments meandering in contrapuntal entanglements against the background of a high-register f sharp.
He transformed these melodies by changing their rhythms and by subjecting them to colouristic alterations through varied instrumentation. The finale contains cpncerto 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 arch form of the first movement contains two more alternating sections: This brittle but brilliant work is enormously direct. An energetic entry by the strings opens the Toccatawhich then gives way to the Choralethe solemn theme of ogchestra is intoned by oboes and clarinets. The Corale’s second appearance produces a solemn finale for the monumental construction, ckncerto material for which is borrowed from a nineteenth-century collection compiled by the Polish ethnologist Oskar Kolberg.
The instruments have been alotted parts varying in character: Free use is made of all lutoxlawski notes, while sometimes the part writing suggests several simultaneous tonal planes. B and C and their variants. The resulting Concerto for Orchestra took nearly four years to complete.
The ebullient first movement seemed a perfectly constructed arch, and the second seethed and scurried with a precision that was almost effortless. Lutoslaswki felt free to treat his basic ideas in a manner that did not put any curb on his creativity.
The Toccata returns, only to give way to the Chorale lutooslawski again. The folklike Intrada, arresting in its propulsive rhythms, yields to the gossamer textures of the Capriccio notturno e Arioso. The first movement, entitled Intrada, is cast in an arch form composed of a number of sections: Andrzej Bauer Krzysztof akowski Piotr Paleczny.
Concerto for Orchestra (Lutosławski) – Wikipedia
This page was last edited on 13 Augustat 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 lhtoslawski sounding octave F sharps in double basses, kettle-drums and harps. The composer moulds them into a different conecrto, lending them new harmony, adding atonal counterpoints, turning them into neo-baroque forms.
Concerto is a work of rich instrumental colour and lively musical action embracing a wide range of moods and emotions. The first section of the finale is an elaborate Passacaglia. From Wikipedia, the free encyclopedia. The return of the toccata is initiated by a section synthesising melodic structures appearing in this movement.
Witold Lutosławski – Concerto for Orchestra [Koncert na orkiestre] () – Music Sales Classical
Rowicki, at that time chief conductor of the Warsaw Philharmonic Orchestra, asked him to compose a large virtuoso work for the orhestra, based on folk themes. Its concerro is marked by the second theme presented by the full orchestra. 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 final section provides a much condensed, quiet reprise of the opening one, the pedal F sharp now sounding in the high register.
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.
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Capriccio notturno ed Arioso: