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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The very condensed reprise of the first part finally peters out on divided double basses and drums of different sizes.
The theme is revealed in increasingly higher registers of string instruments and then in a group of woodwind instruments in perfect fifth transpositions, all ltuosawski against the background of continuously sounding octave F sharps in double basses, kettle-drums and harps. Music Education Day Check. Passacaglia, Toccata e Corale: These fragments are referred to as Capriccio notturno.
Concerto is a work of rich instrumental colour and lively musical action embracing a wide range of moods and emotions. The first theme returns in the lyrical ending of the Intradawhile the two others intertwine throughout the movement.
The reprisal of the capriccio is intoned by the cellos and harp, the theme bowed, then with pizzicato.
Free use is made of all twelve notes, while sometimes the part writing suggests several simultaneous tonal planes. The first section of the finale is an elaborate Passacaglia. The arch form of the first movement contains two more alternating sections: The instruments have been alotted parts varying in character: This orcbestra but brilliant work is enormously direct.
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 harpsconcefto and strings. The first movement, entitled Intrada, is cast in an arch form composed of a number of sections: The return of the toccata is initiated by a section synthesising melodic structures appearing in this movement.
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Concerto for Orchestra (Lutosławski) – Wikipedia
Discography – Concerto for Orchestra [Koncert na orkiestre]. 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. Our website uses concertk to give you the best possible experience.
The differences consist in a different instrumental elaboration of the same folk song, heard now in solo woodwind instruments and solo violins, the parts for these instruments meandering in contrapuntal entanglements against outosawski background of a high-register f sharp. That period ended unexpectedly quickly, as can be seen in works composed shortly after the Concerto: The resulting Concerto for Orchestra took nearly four years to complete. 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.
An analogous section A1 ends the Intrada.
An energetic entry by the strings opens the Toccatawhich then gives way to the Choralethe solemn theme of which is intoned by oboes and clarinets. Always an elegant conductor, Mariss Jansons began the Passacaglia poised like a ocrhestra about to pounce on the double bass section, then kept a ordhestra 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.
Consisting of four sections A A1 B A2the movement includes jocose elements A, A1 and A2lutoawski very quick tempo, with unexpected accents, disrupting the flow of the material as well as a song-like section Bmodelled on folk melodies.
The beginning of the work leaves us in no doubt that it is a composition written on a grand scale. Everywhere Shop Hire Library. The third movement Passacaglia, toccata prchestra 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.