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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The first section of the finale is an elaborate Passacaglia.

San Francisco Symphony – Lutosławski: Concerto for Orchestra

The lengthy concluding Passacaglia, Toccata e Corale, an intricate study in regenerating and reshaping primary materials, may be orchestrq most invigorating 16 minutes in contemporary music. That period ended unexpectedly quickly, as can be seen in works composed shortly after the Concerto: This brittle but brilliant work is enormously direct. Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin. The second movement is also in tripartite form and it cnocerto a similar contrast between its outer sections based on the same material.

Concerto for Orchestra (Lutosławski)

The arch lutosawksi of the first movement contains two more alternating sections: 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 B section contains motifs of a new folk melody, appearing in the score with the expression cantando, whereas the C section starting from Figure 6 consists of freely composed material.

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.

Everywhere Shop Hire Library. Music Education Day Check. 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.

Discography – Concerto for Orchestra [Koncert na orkiestre]. The first movement, entitled Intrada, is cast in an arch form composed of a number of sections: The second movement opens and ends with brilliant playing by strings and woodwinds, seconded by snare drum, celesta and harp. Concerto is a work of rich instrumental colour and lively musical action embracing a wide range of moods and emotions.

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Concerto for Orchestra [Koncert na orkiestre]. 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. 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.

He also endowed them with a new musical sense by presenting them in the context of different melodic and harmonic content.

Concerto for Orchestra (Lutosławski) – Wikipedia

The concerto finishes with a dramatic flourish and climax from the whole orchestra. The ebullient first movement seemed a perfectly constructed arch, and the second seethed and scurried with a precision that was almost effortless. Newsletter PWM Sign up. They are coloured in new ways, owing to the instrumental, dynamic and textural transformations.

The final section provides a much condensed, quiet reprise of the opening one, the pedal F sharp now sounding in the orchedtra register. The first theme returns in the lyrical ending of the Intradawhile the two others intertwine throughout the movement. Whereas this first paragraph stems form a single fot that is handed over from one group of instruments to another, the texture lutosawwski becoming more and more complex, the larger central panel is less limited in its material.

In turn, in ljtosawski section Allegro giusto after Figure 61there appears for the first time material marked by the constant, rapid movement of the toccata. Andante con moto — Allegro giusto — in three sections: Successive presentations of its theme begin and end at different moments from the variations overlapping each other like links lhtosawski a chain[K1].

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 technique and enriching traditional elements with modern harmonies and instrumentation.


The instruments have been alotted parts varying in character: 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 resulting Concerto for Orchestra took nearly four years to complete. It was given a slightly cool but very persuasive performance here.

Jadwiga Paja-Stach translated by Ewa Cholewka. An analogous section A1 ends the Intrada. From Wikipedia, the free encyclopedia.

Its last, triumphal passage is the climax of the work. Its climax is marked by the second theme presented by the full orchestra. It is concluded with the ominous rumblings of the drums, double-basses and bass clarinet. The very condensed reprise of the first part finally peters out on divided double basses and drums of different sizes. In his Concerto for Orchestra he drew on several folk tunes from the Mazowsze region. The reprisal of the capriccio is intoned by the cellos and harp, the theme bowed, then with pizzicato.

The Toccata returns, only to give way to the Chorale once again. The Concerto departs from convention in the matter of architecture, for no movement approximates, even remotely, to sonata form.

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

This page was last edited on 13 Augustat The composer moulds them into a different reality, lending them new harmony, adding atonal counterpoints, lutlsawski them into neo-baroque forms. The beginning of the work leaves us in no doubt that it is a composition written on a grand scale.

Continue using the site as normal or read our Privacy Policy. He transformed these melodies by changing their rhythms concsrto by subjecting them to colouristic alterations through varied instrumentation.