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

The very condensed reprise of the first part finally peters out on divided double basses and drums of different sizes. Concerto for Orchestra [Koncert na orkiestre]. 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.

Concerto is a work of rich instrumental colour and lively musical action embracing a wide range of moods and emotions. He transformed these melodies by changing their rhythms and by subjecting them to colouristic alterations through varied instrumentation. Concerto for Orchestra is a virtuosic composition, requiring from the performers high technical efficiency and an ability to create contrasting moods. 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.

Witold Lutosławski – Concerto for Orchestra [Koncert na orkiestre] () – Music Sales Classical

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. Capriccio notturno ed Arioso: The final section provides a much condensed, quiet reprise of the opening one, the pedal F sharp now sounding in the high register. Continue using the site as normal or read our Privacy Policy.

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. B and Orchesra and their variants. In his Concerto for Orchestra he drew on several folk tunes from the Mazowsze region. Outoslawski period ended unexpectedly quickly, as can be seen in works composed shortly after the Concerto: Free use foe made of all twelve notes, while sometimes the part writing suggests several simultaneous tonal planes.


The instruments have been alotted parts varying in character: The second movement is cohcerto in tripartite form and it displays a similar contrast between its outer sections based on the same material. Its climax is marked by the second theme presented by the full orchestra. 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.

This brittle but brilliant work is enormously direct. These fragments are referred to as Capriccio notturno. 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 lutoslaws,i. Newsletter PWM Sign up.

The work starts with a theme in cellos based on a Masovian song. With regard to its content, the toccata theme is akin to that of the passacaglia; it lutpslawski a new character here, however, mainly owing to the rhythmic changes and ofr variation, whereas new melodic material is introduced in Corale after Figure Retrieved from ” https: 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.

While much of the material used is folk orientated, no attempt was made to reproduce folk idioms. The return of the toccata is initiated by a section synthesising melodic structures appearing in this movement. By using this site, you agree to the Terms of Use and Privacy Policy.

Successive presentations of its theme begin and end at different moments from the variations overlapping each other like links of a litoslawski.


The reprisal of the capriccio is intoned by the cellos and harp, the theme bowed, then with pizzicato. From Wikipedia, the free encyclopedia. The majestic chords, alternating with a folk melody in solo instruments are presented in different colouristic arrangements. Our website uses cookies to give you the best possible experience.

The finale contains many 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. Consisting of four sections A A1 B A2the movement includes jocose elements A, A1 and A2foe very quick tempo, with unexpected accents, disrupting the flow of the orxhestra as well as a song-like section Bmodelled on folk melodies.

Lutoslawski: Concerto for Orchestra, etc.

The second movement Capriccio notturno e arioso resembles a symphonic scherzo in character and structure. The three movements are: The third movement Passacaglia, toccata e corale is the most artistically constructed movement containing at the same orcestra a feature characteristic of the composers late works, namely a chain-like combination of musical motifs.

The concerto finishes with a dramatic flourish and climax from the whole orchestra. Its last, triumphal passage is the climax of the work. The beginning of the work leaves us in lutoslaws,i doubt that it is a composition written on a grand scale.

The ebullient first movement seemed a perfectly constructed arch, and the second seethed and scurried with a precision that was almost effortless. The second movement opens and ends with brilliant playing by strings and woodwinds, seconded by snare drum, celesta and harp. The resulting Concerto for Orchestra took nearly four years to complete. The first section of the finale luotslawski an elaborate Passacaglia.

An analogous section A1 ends the Intrada. Passacaglia, Toccata e Corale: Music Education Day Check. Jadwiga Paja-Stach translated by Ewa Cholewka.

They are coloured in new ways, owing to the instrumental, dynamic and textural transformations.