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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Capriccio notturno ed Arioso: It is concluded with the ominous rumblings of the drums, double-basses and bass clarinet.
lutoslzwski 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. While much of the material used is folk orientated, no attempt was made to reproduce lutoalawski idioms. The second movement Capriccio notturno e arioso resembles a symphonic scherzo in character and structure.
It was given a slightly cool but very persuasive performance here.
Concerto for Orchestra (Lutosławski) – Wikipedia
Views Read Edit View history. Music Education Day Check. The score calls for three flutes 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.
The reprisal of the capriccio is intoned by concreto cellos and harp, the theme bowed, then with pizzicato. B and C and their variants.
Ninateka – Three composers – Concerto for Orchestra (dir. Witold Lutosławski)
He also endowed them with a new musical sense by presenting them in the context of different melodic and harmonic content. The Corale’s second foncerto 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. The whole ends with a concise, impressive coda. Concerto for Orchestra is a virtuosic composition, requiring from the performers high technical efficiency and an ability to create contrasting moods.
They are coloured in new ways, owing to the instrumental, dynamic and textural transformations. The concerto finishes with a dramatic flourish lutoslawwski climax from the whole orchestra.
Lutosławski Witold, Concerto For Orchestra
Its climax is marked by the second theme presented by the full orchestra. The Toccata returns, only to give way to the Chorale once again.
The differences consist in a different instrumental elaboration of the same folk 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. Concerto for Orchestra [Koncert na orkiestre]. He transformed these melodies by changing their rhythms and by subjecting them to colouristic alterations through varied instrumentation.
The second movement opens and ends with brilliant playing by strings and woodwinds, seconded by snare drum, celesta and harp. Always an elegant conductor, Mariss Jansons began the Passacaglia poised lutosslawski a cat about to pounce on the double bass section, then kept a tight rein on this movement’s menacing turbulence, effecting a beautifully orchfstra transition into the simple wind chorale at the centre, and winding up the acceleration at the end excitingly.
These fragments lutosalwski referred to as Capriccio notturno. Free use is made of all twelve notes, while sometimes the part writing suggests several simultaneous tonal planes.
From Wikipedia, the free encyclopedia. The instruments have been alotted parts varying in character: 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.
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.