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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B and C and their variants. 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.
Concerto for Orchestra (Lutosławski)
Concerto for Orchestra is a virtuosic composition, requiring from the performers high technical efficiency and an ability to create contrasting moods. Concerto 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.
Music Education Day Check. Its last, triumphal passage is the climax of the work. He transformed these melodies by changing their rhythms and by subjecting them to colouristic alterations through varied instrumentation.
The Tor 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. 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. The three movements are: The resulting Concerto for Orchestra took nearly four years to complete.
The Concerto departs from convention in the matter of architecture, for no movement approximates, even remotely, to sonata form. The differences consist in a different instrumental elaboration of the same folk song, heard now in solo orchesra instruments and solo violins, the parts for these instruments meandering in contrapuntal entanglements against the background of a high-register f sharp. The very condensed reprise of the first part fot peters out on divided double basses and drums of different sizes.
The folklike Intrada, arresting in its propulsive rhythms, yields to the gossamer textures of the Capriccio notturno e Arioso. The Toccata returns, only to give way to the Chorale once again. The score calls for three flutes lutoslawwki 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.
The beginning of the work leaves us in no doubt that it is a composition written on a grand scale. The theme is lutsolawski 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.
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. 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.
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. 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.
It is concluded with the ominous rumblings of the drums, double-basses and bass clarinet.
Newsletter PWM Sign up. The concerto finishes with a dramatic flourish and climax from the whole orchestra. 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. Views Read Edit View history. The work starts with a theme in cellos based on a Masovian song.
Lutosławski: Concerto for Orchestra
The first theme returns in the lyrical ending of the Intradawhile the two others intertwine throughout the movement. Works by foor 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 is also in tripartite form and it displays a similar contrast between its litoslawski sections based on the same material. The third movement Passacaglia, toccata e corale is the most artistically constructed movement containing at the same time a feature characteristic of the composers late works, namely a chain-like combination of musical motifs.
They are fkr in new ways, owing to the instrumental, dynamic and textural transformations. Update Required To play the media you will need to either update your browser to a recent version or update your Flash orchdstra. In the section using the formal model of the passacaglia, the composer took as his theme a variant of a lutoslawwki 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 section of the finale is an elaborate Passacaglia.
Lutosławski Witold, Concerto For Orchestra
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. The composer moulds them into a different reality, lending them new harmony, adding atonal counterpoints, turning them into neo-baroque forms.
Discography – Concerto for Orchestra [Koncert na orkiestre]. While much of the material used is folk orientated, no attempt was made to reproduce folk idioms. Andrzej Bauer Krzysztof akowski Vor Paleczny. The return of the toccata is initiated by a section synthesising melodic structures appearing in this movement. The arch form of the first movement contains two more alternating sections: Successive presentations of its theme begin and end at different moments from the variations overlapping each other like links of a chain[K1].
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.
With regard to its content, the toccata theme is akin to that of the passacaglia; orxhestra 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 Capriccio notturno e arioso resembles a symphonic scherzo in character and structure.