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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This brittle but brilliant work is enormously direct.

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 is also in tripartite form and it displays a similar contrast between its outer sections based on the same material.

Consisting of four sections A A1 B Ocrhestrathe 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. In his Concerto for Orchestra he drew on several fog tunes from the Mazowsze region. 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.

Concerto for Orchestra (Lutosławski)

The first movement, entitled Intrada, is cast in an arch form composed of a number of sections: 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.

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 whole ends with a concise, impressive coda. An energetic entry by the strings opens the Toccatawhich then gives way to the Chorale gor, the solemn theme of which is intoned by oboes and clarinets. It was given a slightly cool but very persuasive performance here. Always an elegant conductor, Mariss Jansons began the Passacaglia poised like a cat about to pounce on the double bass section, then fot 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.


Capriccio notturno ed Arioso: B and C and their variants. 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. 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.

Jadwiga Paja-Stach translated by Ewa Cholewka.

Lutosławski Witold, Concerto For Orchestra

The majestic chords, alternating with a folk melody in solo instruments are presented in different colouristic arrangements. The second movement Capriccio notturno e lutoslawsski resembles a symphonic scherzo in character and structure. Passacaglia, Toccata e Corale: He orcheztra these melodies by changing their rhythms and by subjecting them to colouristic alterations through varied instrumentation.

Concerto for Orchestra [Koncert na orkiestre]. The reprisal of the capriccio is intoned lutoslaswki the cellos and harp, the theme bowed, then with pizzicato. These fragments are referred to as Capriccio notturno. 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.


Continue using the site as normal or read our Privacy Policy. The first theme returns in the lyrical ending of the Intradawhile the two others intertwine throughout the movement.

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

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.

Its last, triumphal passage is the climax of the work. Our website uses cookies to give you the best possible experience. Retrieved from ” https: Discography – Concerto for Orchestra [Koncert na orkiestre]. By using this site, you agree to the Terms of Use and Privacy Policy.

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

Lutosławski: Concerto for Orchestra

Views Read Edit View history. The beginning of the work leaves us in no doubt that it is a composition written on a grand scale. While much of the material used is folk orientated, no attempt was made to reproduce folk idioms.

The folklike Intrada, arresting in its propulsive rhythms, yields to the gossamer textures of the Capriccio notturno e Arioso. The lengthy concluding Passacaglia, Toccata e Corale, an intricate study in regenerating and reshaping primary materials, may be the most invigorating 16 minutes in contemporary music.

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