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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Its last, triumphal passage is the climax of the work. Whereas this first paragraph stems form a single idea that is handed over from one group of instruments to another, the texture gradually becoming more and cpncerto complex, the larger central panel lutosawskki less limited in its material.
Against the background of a bass beat we hear a distinctive melody, then its successive, increasingly complex versions are spread in the strings and woodwinds. The very condensed reprise of the first part finally peters out on divided double basses and drums of different sizes.
Rowicki, at that time chief conductor of foncerto Warsaw Philharmonic Orchestra, asked him to compose a large virtuoso work for the orchestra, based on folk themes. Consisting of four sections A A1 B A2the movement includes jocose elements A, Orchestta 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 moods.
Concerto for Orchestra (Lutosławski) – Wikipedia
The resulting Concerto for Orchestra took nearly four years to complete. The folklike Intrada, arresting in its propulsive rhythms, yields to the gossamer textures of the Capriccio notturno e Arioso. Discography – Concerto for Orcheatra [Koncert na orkiestre].
The three movements are: Capriccio notturno ed Arioso: That period ended unexpectedly quickly, as can be seen in works composed shortly after the Concerto: The Toccata returns, only to give way to the Chorale once again. Concerto for Orchestra [Koncert na orkiestre].
The instruments have been alotted parts varying in character: The whole ends with a concise, impressive coda. The arch form of the first movement contains two more alternating 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 first theme returns in the lyrical ending of the Intradawhile the two others intertwine throughout the movement.
Ninateka – Three composers – Concerto for Orchestra (dir. Witold Lutosławski)
From Wikipedia, the free encyclopedia. These fragments are referred to as Capriccio notturno. Andante con moto — Allegro giusto — in three sections: Passacaglia, Toccata e Corale: The return of the toccata is initiated by a section synthesising melodic structures appearing in this movement.
He transformed these melodies by changing their rhythms and by subjecting them to colouristic alterations through varied instrumentation. The work starts with a theme in cellos based on a Masovian fot. The Concerto departs from convention in the matter of architecture, for no movement approximates, even remotely, to sonata form.
Works by categories Orchestral Symphonic orchestra Oorchestra orchestra String orchestra Wind orchestra Instrument solo with orchestra ensemble Vocal-instrumental music Electronic music Stage works Music for children Sacred Music.
Witold Lutosławski – Concerto for Orchestra [Koncert na orkiestre] () – Music Sales Classical
This brittle but brilliant work is enormously direct. While much of the material used is folk orientated, no attempt was made to reproduce folk idioms. Its climax is marked by the second theme presented by the full orchestra. Everywhere Shop Hire Library.
The ebullient first movement seemed a perfectly constructed arch, and the second seethed and scurried with a precision that was almost effortless. It is concluded with the ominous rumblings of the drums, double-basses and bass clarinet.