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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While much of the material used is folk orientated, no attempt was made to reproduce folk idioms. Views Read Edit View history. The theme is revealed in increasingly higher registers of string instruments and then in a group fpr woodwind instruments in perfect fifth transpositions, all this against the background of continuously sounding octave F sharps in double basses, kettle-drums and harps.

Lutoslawski: Concerto for Orchestra, etc.

Continue using the site as normal or read our Privacy Policy. Against the background of concdrto bass beat we hear a distinctive melody, then its successive, increasingly complex versions are spread in the strings and woodwinds. B and C and their variants. Andrzej Bauer Krzysztof akowski Piotr Paleczny. Free use is made of all twelve notes, while sometimes the part writing suggests several simultaneous tonal planes.

Lutosławski: Concerto for Orchestra

The Concerto departs from convention in the matter of architecture, for no movement approximates, even remotely, to sonata form. 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 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. Concerto for Orchestra [Koncert na orkiestre]. Consisting of four sections A A1 B A2the movement includes jocose orchestrq 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.

Discography – Concerto for Orchestra [Koncert na orkiestre]. Jadwiga Paja-Stach translated by Ewa Cholewka. 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 orcyestra a two-tiered orchestral tutti, in which the theme is accompanied by a mobile layer of ”rushing”, ”brilliant” figurations.

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The return of the toccata is initiated lutoswski a section synthesising melodic structures appearing in this movement. It was given a slightly cool but very persuasive performance here.

The folklike Intrada, arresting in its propulsive rhythms, yields to the gossamer textures of the Capriccio notturno e Arioso. Music Education Day Orcyestra. Capriccio notturno ed Arioso: Retrieved from ” https: The reprisal of the capriccio is intoned by the cellos and harp, the theme bowed, then with pizzicato.

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

This brittle but brilliant work is enormously direct. Successive presentations of its theme begin and end at different moments from the variations overlapping each other like links of a chain[K1].


In his Concerto for Orchestra he drew on several folk tunes from the Mazowsze region.

This page was last edited on 13 Augustat It is concluded with the ominous rumblings of the drums, double-basses and bass clarinet. 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 very condensed reprise of the first part finally peters out on divided double basses and drums of different sizes. He transformed these melodies by changing their rhythms and by subjecting them to colouristic alterations through varied instrumentation.

Concerto is a work of rich instrumental colour and lively musical action embracing a wide range of moods and emotions. The work starts with a theme in cellos based on a Masovian song.

The majestic chords, alternating with a folk melody in solo instruments are presented in different oorchestra arrangements. The second movement opens and ends with brilliant playing by strings and woodwinds, seconded by snare drum, celesta and harp.