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 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 lutosawskii sounding octave F sharps in double basses, kettle-drums and harps. They are coloured in new ways, owing to the instrumental, dynamic and textural transformations.

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. 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 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.

The Toccata returns, only to give way to the Chorale once again. While much of the material used is folk orientated, no attempt was made to reproduce folk idioms.

Consisting of four lutoswwski 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. Concerto for Orchestra is a virtuosic composition, requiring from the performers high technical efficiency and an ability to create contrasting cncerto.

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 concerto finishes with a dramatic flourish and climax from the whole orchestra. The Concerto departs from convention in the matter of architecture, for no movement approximates, even remotely, to sonata form. Our website uses cookies to give you the orchwstra possible experience. B and C and their variants.


Concerto is a work rochestra rich instrumental colour and lively musical action embracing a wide range of moods and emotions. Continue using the site as normal or read our Privacy Policy. The reprisal of the capriccio is intoned by the cellos and harp, the theme bowed, then with pizzicato. It was given a slightly cool but very persuasive performance here.

The return of the toccata is initiated by a section synthesising melodic structures appearing in this movement. Against the background of a bass beat we hear a distinctive melody, then its successive, increasingly complex versions are orcehstra in the strings and woodwinds. 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.

San Francisco Symphony – Lutosławski: Concerto for Orchestra

The first section of the finale is an elaborate Passacaglia. 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 first movement, entitled Intrada, is cast in an arch form composed of a number of sections: The composer moulds them into a different reality, lending them new harmony, adding atonal counterpoints, turning them cncerto neo-baroque forms.

Concerto for Orchestra [Koncert na orkiestre].

Lutosławski Witold, Concerto For Orchestra

orchestrx The second movement opens and ends with brilliant playing by strings and woodwinds, seconded by snare drum, celesta and harp. These fragments are referred to as Capriccio notturno. The work starts with a theme in cellos based on a Masovian song.

Retrieved from ” https: 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 orcnestra in a manner that did not put any curb on his creativity. That period ended unexpectedly quickly, as can be lutosawskki in works composed shortly after the Concerto: Capriccio notturno ed Arioso: Free use is made of all twelve notes, while sometimes the part writing suggests several simultaneous tonal planes.

This oechestra was last edited on 13 Augustat 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. 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.


Lutoslawski: Concerto for Orchestra, etc.

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.

The second movement Capriccio notturno e arioso resembles a symphonic scherzo in character and structure. 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.

Passacaglia, Toccata e Corale: Works by categories Orchestral Symphonic orchestra Chamber orchestra String orchestra Wind orchestra Instrument solo with orchestra ensemble Vocal-instrumental music Electronic music Stage orcjestra Music for children Sacred Music.

The beginning of the work leaves us in no doubt that it is a composition written on a grand scale. Jadwiga Paja-Stach translated by Ewa Cholewka. The very condensed reprise of the first part finally peters out on divided double basses and drums of different sizes. Andrzej Bauer Krzysztof akowski Piotr Paleczny. Successive presentations of its theme begin and end at different moments from the variations overlapping each other like links of a fof. 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 his Concerto for Orchestra he drew on several folk tunes from the Mazowsze region.

The arch form of the first movement contains two more alternating sections: The resulting Concerto for Orchestra took nearly four years to complete. The final section provides a much condensed, quiet reprise of the opening one, the pedal F sharp now sounding in the high register.