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. Lutoslaswki felt free to treat his basic ideas in a manner that did not put any curb on his creativity.
Free use is made of all twelve notes, while sometimes the part writing suggests several simultaneous tonal planes. The Concerto departs from convention in the matter of architecture, for no movement approximates, even remotely, to sonata form.
Concerto for Orchestra (Lutosławski) – Wikipedia
Whereas this first paragraph stems form a single idea that is handed over from one luttoslawski of instruments to another, the texture gradually becoming more and more complex, the larger central panel is less limited in its material.
The final section provides a much condensed, quiet reprise of the opening one, the pedal F sharp now sounding in the high register.
The second movement is also in tripartite form and it displays a similar contrast between its outer sections based on the same material. The very condensed reprise of the first part finally peters out on divided double basses and drums of concwrto sizes.
Discography – Concerto for Orchestra [Koncert na orkiestre]. Andrzej Bauer Krzysztof akowski Piotr Paleczny.
Witold Lutosławski – Concerto for Orchestra [Koncert na orkiestre] () – Music Sales Classical
Concerto for Orchestra [Koncert na orkiestre]. This concdrto but brilliant work is enormously direct. It was given a slightly cool but very persuasive performance here.
The ebullient first movement seemed a perfectly constructed arch, and the second seethed and scurried with a precision that was almost effortless. 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 folklike Intrada, arresting in its propulsive rhythms, yields to the gossamer textures of the Capriccio lutoslawwki e Arioso. The lengthy concluding Passacaglia, Toccata e Corale, concsrto intricate study in regenerating and reshaping primary materials, may be the most invigorating 16 minutes in contemporary music.