LUTOSLAWSKI Symphony No. 3 Paganini Variations Paroles TissCes Les Espaces du Sommeil Bernd Glemser, Piano Piotr Kusiewiez, Tenor Adam Kruszewski, Baritone Polish National Radio Symphony Orchestra (Katowke) Antoni Wit Witold Lutoslawski (1913 - 1994) Orchestral Works Vol. 3 Variations on a Theme of Paganini Paroles tissCes Les Espaces du sommeil Symphony No. 3

Witold Lutoshwski started regular study of the piano at the age of six and the violin when he was thirteen. He did not become a concert violinist, but he was a concert pianist. Witold Maliszewski, professor at the Warsaw Conservatory, who deeply influenced the young Lutoskwski's musical thought, gave him lessons in composition, after his future pupil had presented him with the Poem for piano, written at the age of fifteen. When he was seventeen he wrote, under his teacher's supervision, his Dnnce of the Chimera for piano, the first work of his to receive public performance. As with a series of other pieces, written since 1922, when Lutosbwski was only nine, the two compositions mentioned were destroyed in 1944 during the Warsaw rising. The flames spared, however, the Piano Sonntn of 1934 and the two-piano Warincje nu fetnafPagnniniego (Variations on a Theme of Paganini) of 1941. The post-war years brought other works for piano, Melodie ludmoe (Folk Melodies) in 1946 and Btrkoliki (Bucolics) in 1952 and some pedagogical pieces. The piano, the r6le of which in LutoslBwski's chamber and orchestral works was often important, only appeared as a solo instrument in the Pinno Concerto of 1988, except for the Vnrintions on n Thane of Pngnnini, a composition for piano and orchestra, after the two-piano Variations, one of the most popular works in the piano duo repertoire and one of the most frequently performed of LutostBwski's compositions. In Warsaw under Nazi occupation, Lutosbwski earned his living by playing the piano in cafes, from 1940 to 1944 with Andrzej Panufnik (1914-19911, one of the most famous Polish composers. The Lutosbwski-Panufnik duo had a repertoire of nearly two hundred pieces, with arrangements of classical music from Bach to Beethoven and Tcl~aikovsky,as well as, among other works, an elaboration by the composer of Debussy's L'Apr2s-rr~idid'rlri fniriie and a transcription of Paganini's solo violin Cnprice No. 24 ill A iiriiior. It was only the score of the Vnrintiorzs, out of tl~e1~11ole Lutosi'a~~ski-Panufnik collection, that was not destroyed during the uprising. Lutosfawski returned to this work in 1978, slightly enlarging it in an arrangement for piano and orchestra. The new version was first performed on 18th November 1979 in Miami by Felicja Blumenthal and the Florida Phill~armonicOrchestra, under Brian Priestman. The theme, marked Allegro cnpr-iccioso, and the twelve variations that constitute the work are written with exceptional bravura virtuosity. In a masterljr way, one might say, he juggles wit11 three elements, violin music, piano music and orchestral writing, allotting these in alternation or in counterpoint to tl~esolo instrument and to particular sections of the orchestra. The principle of alternation of melodic and harn~onicmaterial in the score for two instruments is enriched, in the orchestral version, by instrulnental colouring. The piano part has its origin in the best models of virtuosity stemming from Liszt and Rachmaninov, enriched, always, by the influence of Bart6k and, to some extent, of Prokofiev. The orchestral part owes its brilliance to the fact that its neo-classical vitality is embellished by elements of colour and articulation that come not only from the orchestra of Ravel but also from twentieth century scores that draw on folk traditions and the sonorities of the moderl~orchestra. The harmonic system of the work rests naturally on the original A minor theme, in relationship wit11 chords that have very little in colnlnon with major-minor tonality, becoming a sort of atonal variation purely in sound. The mood of Vigor-e in the Telripo nllegro that dominates the score only changes in the sixth variation, marked poco ler~fo,a lyrical cniitileiin, where one can observe a reference to the lyrical work of Karel Szymanowski, who wrote in 1918 variations on the same theme of Paganini. This contrasting variation at the centre of the work and a miniature cadenza for the piano at the end of the last, twelfth variation, give the impression, elsewhere hardly apparent, of a miniature piano concerto. Apart from a setting of the Lncrinlosn of the Requiem Mass, written as a student, there are only five works for voices and instruments among the compositions of Lutodawski, four of which were based on texts by French surrealist poets of the twentieth century. Pnroles tissies (Woven Words) for tenor and Les Espaces dlr so1111lleil(The Spaces of Sleep) for baritone are included in the present recording. The three others are Cl~nilteflerrrsef Clznrztefnbles for soprano, Three Poe~izsfor chorus and orchestra and Five Soizgs for female voice, settings of poems by the Polish poet Kazimiera IKakowicz. In his comments on the suggestion that his music goes far beyond the "texture of words" of Jean-Franqois Chabrun, which served him as a basis, Lutoshwski referred to the famous remark of Debussy, that music begins where the words finish. He added that he did not believe in any way that music was able to transmit unequivocally any kind of extra-musical content. For Lutoshwski the text was a source of inspiration and in no way the subject of the musical work, which, paradoxically, is not inconsistent with another statement of the composer, that the text had never been for him purely an element of sound and that he had never reduced the content to a futile excuse for composing. It should be added that with Lutosbwski, at the start of the development of a vocal-instrumental work, it was not a question of a text that might stimulate him to set it to music but rather a general sketch of the composition, written without any relationship with any text. Lutoshwski sought for words for a musical idea already sketched, which was realised and shaped by contact with the words and the contents chosen. He was principally concerned with French poetry and had a particular feeling for this language: I like pnrtic~rlnrlyFrelzcll sung, nbove nll becnlrse of its lznsnl sorrilds flmt give plenstrre to lily enr, n plenslrre tlznf is pzcrely iil solrild. It is becnrrse of these flrnt Freizclz solzgs sotritd differeizt froin poerns slrrig irx any other Inrzgltnge, becnttse of the lnrge izzriirber of vozuels, but nbove nll iznsnl vowels. Siinilnrly tlze torzic nccejzt oiz the last syllnble deteri~ziizesn m'tniir zuny of rlzytlznzic wrifilzg. It is not by chance nor through his preference for the surrealists who, on the one hand, often give importance to the richness of sonorities in the language and, on the other hand, avoid, as a matter of principle, any concrete and unequivocal meaning, but rather the poetic of the surrealists that corresponded best with LutosEiwski's ideas on composition and his artistic opinions. Lutoshwski sought a poem for his idea of a work for tenor and orchestra. In the review Poisie 1947 he found the poem Qi~ntrrtnpisseries potrr la clzi?telniize de Vergy (Four Tapestries for the Lady of Vergy). I zunrlted n slzorter title, Lutoshwski said, nizd . . . tlie zurifer suggested to nze, mzszuerilzg lily zuislzes, fzuo otlzer titles, of zuhiclz I clzose Paroles tisskes . . . The work is written for tenor and string chamber orchestra, with harp, piano and percussion. Completed in 1965, it was first performed on 20th June in the same year by Peter Pears, to whom it is dedicated, and the Philomusica of London under the direction of the composer at the Snape Maltings in the Aldeburgh Festival. In the title of his poem the poet alludes to the medieval French rorlzniz that teIls the beautiful and sad story of the guilty love of the Lady of Vergy and the Duke of Burgundy. It is there, however, that connection with the secular story ends. The title of Chabrun's poem could be considered a dedication to the Lady of Vergy. The title of the composition chosen by Lutodawski refers to the formal structure of the poem. In the four consecutive movements the same motifs are repeated, mingled, as it were, with other threads: Uize oinbre l'ensorcelle cehri de I'nrbre morf cellti des bbtes prises (a shadow casts a spell on it of the dead tree of creatures caught). The title of the composition, nevertheless, does not reveal another quality in this poem, of which Lutoskawski made masterly use, notably a narrative element, impalpable and unreal, suggested in allusions that follow a dreani logic, which, with purely lyrical aspects, introduces into Lutosrawski's work a dramatic character. While it is clear that Chabrun's poem is one work in four parts and not a collection of four poems, it is clear too that Luto&wski's composition is not a cycle of four songs but a poem in four movements which, by the aid of purely musical means, depicts an unreal story to which the poet alludes without showing it. Lutoskwski even openly admitted that lus way of treating Chabrun's text was fnlse, since 1 rurote linlsic for n story fllnt does not esist iiz Clznbrlriz's test. Nevertheless, according to Lutoskwski's confirmation of Debussy's remark, inlrsic begins rolzere flie 7uor.d~end. This story cannot be put into words. Lutosrawski understood the first passage of Chabrun's poem as information, expressed without any feeling. The whole movement continuously respects the aleatoric technique of nd libitlriiz. The second section represented for him a lullaby hummed in Inezzn voce. The orchestra, using the collective nd libifl~~iltechnique, accompanies the tenor and the harp, which share a common beat of semiquavers. The third part of the text represented for the composer a conflict and a catastrophe, a sensual and dramatic cry. The vocal line here is aleatoric in character aitd where it dies out the composer introduces conducted orchestral passages. A kind of dramatic climax to the whole work is the longer instrumental fragment and the tenor phrase inille coqs lurrleizt nzn yeiire (a thousand cocks cry out my pain), with a long melisma on the word peiize (pain). The fourth section brings peace to the conflict with an extended lyrical cniltileizn, the nocturnal climax of wlucl~ punctuates the flow of the music, again ad libifunr, using the aleatory contrapuntal technique so characteristic of Lutosrawski. The whole work consists of four different passages, with the vocal scheme ranging from recitation on one note to a syllabic aitd even melismatic vocal line. The subtle colouring of this impressionist lyrical world, the studied and carefully worked instrumentation, the accent put on the interval of a third in twelve-note harmony, a drama hidden by sound happenings that are played out essentially in the shadow, the euphoria in the sound itself that is dominant, these are the things that make Pnlales tisskes one of the finest, that is to say one of the most attractive of Lutoskawski's works, though not without strongly expressive and dramatic elements. The way in which Lutoskawski reacted in his musical scheme to the poetic descriptions of the sounds is worthy of attention, and this as much in Chabrun's text in Pnroles tisskes as in the verses of Robert Desnos in Les Espnces dlr so~irrireil.In the first passage of Chabrun's poem there is le cri dlr bntele~rret cellti de In cnille cellri de la perdris cellri dlr rninollerrr cellri de l'nrbre iirort celrri des b2tes prises. (The cry of the clown and of the quail of the partridge of the sweep, of the dead tree of creatures caught). The text is accompanied by chords of twelve notes, played very softly. In his analysis of the poem by Desnos, Lutosfawski raised the question in this little passage: UIInir de pintlo, u~rkclnt de vois, lrire porte clnqlre, rrile horloge (A piano tune, a voice's bright sound,/ A door bangs. A clock.) Wl~ntcn11 be dorze zuitlr tlrnf? Clenrly not i~iritntiveirlrrsic . . . Tlrese words nre slr~lgor rntller recited oil one note, roitll slrort note vnltres, n~rdpnrficlrlnr phrnses nre sepnmted by pnrrses. A ri~otio~~less clrord nccoiirpn~~iesflle soloist, like n folr~zdntiorr over .tul~iclr11ot11i11g hnppei~s itr flle iilnsic. We henr, ill tlrrrr, tlre recited test nild silence. Tile i~lterprefntioiris as folloros: file nrfist recozrilts Ifis drenm to tlze nzrdience. Tlle test is, tlleil, tlre relntioir of eveitfs ill tile i~rrrerlife of tlle sirlger 011d the pednl-poiirt, the sile~rce,is for lliin the ~lroii~eiztto cnpture sozrilds iirnrrdible to the nlrdie~rce. Neitlrer he, izor tlle lrenrer, lrenr nilytlriirg real - it is only n drenin - nizd the inofionless clzord Izere becollies the syrilbol of the innt~dible. Les Espnces du soirzineil for baritone and symphony orchestra came ten years after Pnroles tisskes, in 1975, composed on a poem by Robert Desnos of the same title. It appeared for the first time in 1926 in a collection of work by surrealist poets, A In irzystkrietrse (To the mysterious), and later, in Paris in 1930, in the collection Corps et Bielzs (Bodies and Goods). The poem comes from the period when Desnos, associated among others with AndrC Breton, Louis Aragon and Paul Eluard, took part in sessions of hypnosis, which were thought to reveal, through sleep, the state of the subconscious. Desnos, a member of the Resistance, was arrested by the Gestapo and died of typhoid in the Theresienstadt (Terezin) concentration camp in Bohemia, in the last moments of the Second World War. The work, dedicated to Dietrich Fischer-Dieskau, was first performed by him on 12th April 1978 in Berlin, with the Berlin Philharmonic Orchestra conducted by the composer. Les Espnces du soirzmeil, unlike Paroles tisskes, is in one movement, but its inner structure reveals a three-movement scheme, realised without visible breaks. Like the woven words of Chabrun, the pictures that arise from the dreams of Desnos repeat key motifs which give order in a refrain to the dream visions, the surreal images, the pictures from the subconscious, notably dnizs In titiit (in the night) and il yn Toi (there is you). The composer was attracted by the feelings expressed in the poem, the images and the impressions - as opposed to the poetry of ideas. He felt himself attracted by the rhythmic freedom of the verse that offered him a place for his music, rather than a rigid metrical scheme, which would have excluded it. Lutosgwski said that Les Espnces du sommeil was not a song or songs, but a symphonic poem with a baritone solo. The first section of the composition is the introduction and four episodes, a sort of gentle, calm Allegro, sung in a murmur: visions of a forest in which the silhouette of a woman appears, where the dream image notes the steps of a walker, of a murderer, of the constable, the light of the street-lamp - and She: where trains pass and boats and fantastic images of unknown countries - and She; w~heredoors bang, the piano sounds, a voice bursts out, the clock ticks. The second section of the composition is an Ahgio, the third again an Allegro, in which, after going through the characteristics of this silhouette of a woman, heroine of his dreams, comes the climax of the work with words that evoke les po~iii~oilsde iiiillioi~sef ir~illioilsd'2tres (the lungs of millions and millions of beings) with the final Dni~sIn ilrrif il y n Toi. Dnils lejolir nrrssi (Inthe night there is You. In the day too.) - as if in the last words and the last bars night, with sometimes its nightmares, opened on a day ofhope. The baritone part, in almost the whole work, does not often diverge from syllabic writing, a narration in recitative, conung froin the speaking voice that more often expresses itself in hurried sections of recitative and sections of slower miltileilo reflective in character. Another lyrical subject of this poem is the orchestral part, the colour ofwhich delights with its sensual beauty coming from the union of the abstract twelve-note harmonic material with the sensual feeling of the instrumental material. Andrzej Chiopecki

Symphony No. 3 I 11nd nlrendy zuriffei~flle firsf skefclies for tlie Third Syii7plioi7y ill 1972; Inter 1 tofnlly nbnildotled n ynrf coiirposed ill the follozuir~g years. The score zuas only defii~ifiuelycoiiiplefed ill Jni1llnly 1983; ii~eni~zuhileI zurofe n iiuinber of ofl~erpieces, s1ic11ns Les Espnces drr soiitii~eilMi-pnrti nild Novelette. 111 composii~gthe Tliird Syiitphoiry I nlzonys 11nd ill ii~it~dflze Clticago Syinphorry 0rchestl.n n~ldits exquisite soilrid. It runs a pozuerfill stiiilrrlr~sto iny imngiiintioil. At the sniiie fiiire nlzunys, i17 zuritiilg for slrcl~nil iilterprpfer,I felt flle zueigllf of respoi~sibilifyfllnt hnd forced li~efo be inore esnctiizg zoitlz lilyself. This tons prlznps tlze rensorz tlznt zoork oiz tlze Tlzird Symplzoizy zueizf 011 so long. Tlze foryiz of tlze Tlzird Syinpliorzy is tlze resrilt of zizy experierzces over several years ns n listeizer to nzusic, irz pnrficrilnr to lnrger fornzs. I runs nlzonys fnscirznted by the exfrnordirznrystrntegj of Beetlzouerz iiz tlzis field, nrzd flzis runs also for tire tlze besf lessoiz irz rizusicnl nrclzitecttrre. My iizodel for tlze lnrge form, perfectly bnlnrzced, tons, hozoeuer, the pre-Beeflzouei~synzpl~orzy, nboue nll tlze syinplzoizies of Hnydiz. 1 have izot censed to be nn adiizirer of the large-scnle forms of Brnlz~rzsin syrnplzorzies, corzcertos nizd clznrizber music, but I rrztrsf ndinit tluzt, nfter lznvirzg listeized ton syiizplroizy, n coizcerfoor eveiz n sorlnfn by Bralzrirs, I nlronys feel eslznusted, probnbly becnrise witlz hirir tlzere are nlrunys tzoo large-scnle inoveinents, fhefirst nrzd tlze lnst. All flzese rensoizs linve iizclined me to research irzto otlzer possibilities. 1forrrzd irz tlze erzd n solzrtioiz irr tlze lnrge-scale form in tzoo inoveiizents, zolzere tlzefirst is orzly n preynrntiorz for tlze second. Its fzrrzctiozz is only to drnzo tlze nfteiztioiz of the listeizer, to nzonken his interest, zoitlzout giuiizg hiriz corrrplete sntisfnctioiz. It is rzecessnry for the listener, irz follozviizg the perfornzarzce of tlze first mouernerlt, to be zunitirzg for sometlzirzg inore irrrportnrzt to coirze. He iizny eueiz be irnpntient. And it is at tlzis precise irrorrzent tlmt the secorzd inouernetzt nppenrs, brirzgirzg the principal idea of the zuork. Suclz n zony of nrrnizgirzg tlze irzzrsicnl szibsfnrzce of flze work in firne seerrzs to me rzntzirnl, iiz corzforrnity zoif/z flie psyc/~o~ogjof lisfeizirzg. I Imve zrsed n foniz of tlzis kind in n izumber of corizpositiotzs, flze Strirzg Qzrnrtef nrzd flze Second Synzplzorzy nre the most typical ernrrzples. Iiz the Third Syrnplzorzy tlze first "yrepnrnfoly" rizoverrzerzf appenrs nfter n short introdtiction. For soiize tirize the irzzrsic does not inove forzonrdfvoriz here, nizd its cozrrse is interrrrpted by pauses. Tlzis nzoueinerzt corzsists of tlzree episodes, flzefirst of ~olziclzis quicker nnd tlze lnst slozoer. To be exact, tlze terizpo reirrnirzs tlie snirre to tlze end, tlze nppnrerzt diffrerzce only cornes from the zrse of lorzger rlzytlznzic vnlties. A short slozo pnssnge leads to the second nzoverneizf,tlze riznirz ynrt of flre syinplzony. Tlze forrn of tlze secoizd inoveirzazt corrld be defiized ns "n refmzce to flze "sormtn- allegro" zoitlz its tlzei~znficcorztmst. Tlze climnx of flze zuork conzes tozunrds the end of n series of trrffi pnssnges. There is still n distinct epiloglie, nil Adngio, zol~eredrnlnntic string recifnfives rnirlgle zoifll n broad cniltilerzn. (Witold Lutoslawski. 1988.) The four Es that open the symphony, like the four blows at the door of Beethoven's Fiftlt Sympllony, promise the dramatic development of the work. In stating a motif so simple and, at the same time, so strong in expression, intense in its fortissinzo, Lutoslawski seems to say "Stop your false dreams, an end to your illusions, something really important, vital, is beginning, equal in importance to the symphonies of Beethoven or Brahms, going right to the limits". The same four-note motif, always in unison, closes the symphony, providing a conclusion for the coda. It is from this that the second movement develops and it is this that gives form to the first. These movements are not so named in the score and are not separated. In performance they overlap, without any break, in conformity with the "chain" principle that marks his formal developments, a principal characteristic of Lutodaxvski's work. The lrztrodlrcfioil starts with a short passage that last a little over a minute. This develops over the note E, in the strings, divisi and then together in a blaring statement of the four-note main motif. The woodwind, the piano and the harp, free in their expressive contour, reveal the forms and processes that will give life to the sections of the first movement. Lutodawski would not have been unhappy to learn that the introduction is considered a continuation of the sounds of the instruments tuning up, although, it is true, on motifs already indicated and composed, music that invites further attention. Even if it always engages the attention of the hearer, the first movement continues to bear the character of an introductory prelude. It consists of a sequence of three episodes, longer sections of three to four minutes, These constitute procedural happenings which at first seem not in narrative order, a sequence of events that evolves. These are states of musical material rather than its development, states of material for strings, for woodwind, for brass and for the piano, harp and percussion. Each of the episodes is slower than the one that precedes it, the first in quavers, the most sparkling and busy, the second in crotchets, where the motifs appear in musical figures and begin to take on a certain consistency, solidifying into more concrete shapes, the third in minims, where the sound material takes on a continuous line, a cniltileim. This development into a cai~tileimgrows more intense in the ethereal Adagio that follows the third episode, distinct in form, which reveals the idea of the movement, the idea of music that becomes slower and finds its resolution in ail Adagio. The three episodes are divided by two refrains, a third of which closes the first movement, after which the Adagio dies out in a pin~lissiii~o.These are the slow exchanges of clarinets and bassoon, in short melodic figures, lyrical in character. The prillcipal motif of the four Es in the trumpets and trombones tells us each time that an episode is beginning or, after the Adagio, that the second movement is starting. We are unaware that through the first movement, capricious and barely consistent, of less "importance" because of the melodic contours that appear and disappear again, with its patterns that sometimes seem to us anaemic, tame and unfil~ished,open and unfulfilled, Lutoslawski has prepared us for the second movement of his symphony. We do not know and there is no need for us to know that in the first movement the composer has suggested the principal idea of the whole synlphony, its fundamental elements, had sketched them, suggested them, prepared them, and had directed the subco~~sciousattention of the listener to them. The second movement is the main part of the whole symphony. The idea of the soi~nfn-allegrodominates, in the sense that the dualism of two fundamental thematic groups can be detected, with their abridged repetition, the stretfo before the great climax that ends the movement, could be described as a repeat; the development as a principle and not as a separate section on the classical model is present in the whole movement, from beginning to end. The first thematic group, to continue with classical terminology, consists of the repetition of the main motif, the repeated Es that open the movement and of a broadly extended firgnto episode in the strings, witli the harps. Tlie second subject begins polyphonically, with the strings mainly pizzicnto. The second movement of the symphony, unlike tlie first, is a development, a dramatic narration in whicli tliere are varied forms and interruptions, details shaded as in chamber niusic and symphonic explosions of the ~vlloleorchestra whicli call for a deeper and more developed analysis. There is no need for that here: an attentive listener, in tune with the coniposer in the first movement, is seized in the second by tlie form of the symphony and no guidance is necessary in order to appreciate the work. In his commentary Witold Lutoskwski wrote tliat the second movement ends with a developed Epilogzre. This could, however, easily be regarded as a third movement, beginning after the end of tlie climax of the second. The third movement, therefore, would be a slow movement, treated by the composer on the formal and expressive scheme of a unison string recitative and a rl~ytlimiccnlltileim. Some melodic patterns from tlie first movement appear and we find again tlie intensified expression of tlie Arlngio witli which it ends, the ethereal character of a vision here becomes one of ardour. After the climax that crowns the second niovenient, it might be supposed that tliere would be only a conclusion to the form, an acceptance of our lot. Tlie third movement, Lutosl;7wski's Epilogrte, reveals itself as something quite different, an alternative principal movement, a conipletion of the world of this work. A form analogous to the I~zfrodirctioi~,but different in expression, pathetic in spite of its character, is the Codn, stemming from the second movement. The last bar of this is a flttti of four forfissi~rzoquavers. All is conlpleted. After the first performance of the Third S~III~IIOII~ill Chicago on 29th September 1983 by tlie Chicago Symphony Orchestra under Sir Georg Solti, to whom the work is dedicated, one of the critics wrote that this symphony was exactly what might be expected at tliat time from a Polish composer. It must be remembered that at the time the effects of the introduction of martial law in Poland on 13th December 1981 were always apparent. Witold Lutoskwski, who, after December 1981, took no part in the official life of the country, in tlie course of a meeting of the inner comittee of musicologists in Warsaw, expressed his view of the American criticism. In accordance wit11 his artistic principles, he did not confirm the suppositiol~that he could have intended to express in his music the lot of the Polish people, and yet, lie went on, if cue ngree, nll the snllle, that ~ir~rsicen11 sigr~ifyn~rytlrir~g estm-~~rrrsicnl, rue shorrld nlso recog~lisetllnt rue ri~lrstconsider 11111~2'~to be ~IInrt of 111ntryunlrres. Mn11 Rns, ~zeuertheless,oi1e si~rglesolrl n11d euerrts liued tlrrozrgli r~rrrstlrnue solrre i~rflrrerrce011 hi111. If 1i1n171ms n psyclze, tllerr the world of sorr~lds,rullile keeping its nrrtoi10111y,is n fir~rctioir of tlzis psyd~e. Tlrnt is m1ry I sl~ozrld like to nssocinte 111yselfIrere ruitlz n plrzzlirrg e~rorrghproposition, that if tlre lnst nlouel~~erztof this syr~lphor~yprod~rces nil il~rpressiorzof this kind n~rdif it keeps tlze nlrdierrce irr slrspeizse, it is 11ot Mle effect of dm~rce.I ~~~rrstndrnit t1mt I slrorrld feel ~rryselfllo~~orrred to lznue expressed so~i~etl~i~rg t11nt corrld Iznue r.eleun~rceto tlle events liued tl~rorrgltnot orrly by lne persor~nllybut nlso by otller people. If fllnt is trrre, I sholrld regnrd it ns n 11mrk of fl1e lriglrest esteer~r. (Witold Lutosh.c\rski. 1983). Andrzej Chlopecki (English version by Keith Anderson) The Polish National Radio Symphony Orchestra of Katowice (PNRSO) The Polish National Radio Symphony Orchestra of Katowice (PNRSO) was founded in 1935 in Warsaw through the initiative of well-known Polish conductor and composer Grzegorz Fitelberg. Under his direction the el~semble worked till the outbreak of the World War 11. Soon after the war, in March 1945, the orchestra was resurrected in Katowice by the eminent Polish conductor Witold Rowicki. In 1947 Grzegorz Fitelberg returned to Poland and became artistic director of the PNRSO. He was followed by a series of distinguished Polish conductors - Jan Krenz, Bohdan Wodiezko, Kazilnierz Kord, Tadeusz Strugala, Jerzy Maksymiuk, Stanisla5v Wislocki and, since 1983, Antoni Wit. The orchestra has appeared with conductors and soloists of the greatest distinction and has recorded for Polskie Nagrania and many international record labels. For Naxos, the PNRSO has recorded the complete symphonies of Tchaikovsky and Mahler and orchestral music by Lutostawsski. Antoni Wit Antoni Wit was born in Cracow in 1944 and shidied there, before becoming assistant to Witold Rowicki ~7itlithe National Philharmonic Orchestra in Warsaw in 1967. He studied with Nadia Boulanger in Paris and with Penderecki and in 1971 was a prize-winner in tlie Herbert von Karajan Competition. Study at Tanglewood with Skrowaczewski and Seiji Ozawa was followed by appointment as Principal Conductor first of the Pomeranian Philharmonic and then of tlie Cracow Radio Syn~plionyOrcliestra. In 1983 he took up the position of Artistic Director and Principal Conductor of the Polish National Radio Symphony Orchestra in Katowice. Antoni Wit has undertaken niany engagements abroad with major orchestras, ranging from tlie Berlin Philharmonic and the BBC Welsh and Scottish Symphony Orchestras to the Kusatsu Festival Orchestra in Japan. Texts

Paroles tissCes Woven Words (Jenil-Frni~~oisClmbr.1111) (Jenlt-Fm11~oisChnbr-III~ a Un chat qui s'6merveille A cat that is in wonder une ombre l'ensorcelle a shador\. casts a spell on it blanche comme une oreille rvhite like an ear Le cri du bateleur et celui de la caille The cry of the clorvn and of the quail. celui de la perdrix celui du ramoneur of the partridge of the sr\?eep, celui de l'arbre mort celui des hCtes prises of the dead tree of creatures caught Une onlbre qui soniineille A shadorv that sleeps une herbe qui s'heille a plant that !\rakes un pas qui m'6n1errreille a step that makes me rvonder Quand le jour a rourert les brancl~esdu jardin \.\'hen day has opened again the garden branches un chat qui s'6meweille a cat that is in rvonder le cri du bateleur et celui de la caille the cry of the clorrn and of the quail une herbe qui s'6veille a plant that rrakes celui de la perdrix celui du ramoneur of the partridge of the srveep nne ombre l'ensorcelle a shador\, casts a spell on it celui de I'arbre mort celui des bCtes prises of the dead tree of creatures caught Au dire des merrreilles At the telling of wonders I'ombre en deux s'est d6chir6e the shadow is torn in h\?o @ Mille chevaus hors d'haleine A thousand horses out of breath mille chewu~noirs portent ma peine a thousand horses bear nly pain j'entends lews sabots sourds I hear their heavy hooves frapper la nuit au ventre strike the belly of the night s'ils n'arrivent s'ils n'arrivent if they don't come if they don't come avant le jour ah la peine perdue before day ah lost pain Le cri de la perdrix celui du ramoneur The cry of the partridge of the srveep au dire des merveilles une herbe qui s'6veille at the telling of rvonders a plant that wakes celui de I'arbre mort celui des betes prises of the dead tree of creatures caught mille coqs hurlent ma peine a thousand cocks cry out my pain Mille coqs bless& B mort ' A thousand cocks x\rou~idedto the death ui B un la lisiere des faubourgs one by one at the edge of the suburbs pour battre le tambour de l'ombre to beat the shadow's drum pour r6veiller la memoire des chemins to wake the memones of the roads pour appeler une B une to call one by one s'ils slvent s'ils vivent ~fthey live if they llve mille etoiles toutes mes peines a thousand stars allmy pans Dormez cette paleur nous est venue de loin Sieep this pallor comes to us from afar le cri du bateleur et celui de la caille the cry of the clo.rvn and of the quail dormez cette blancheur est chaque jour sleep this ~vliitenessis new nouvelle every day celui de la perdrix celu~du ramoneur of the parhldge of the sl\?eep ceux qui s'aiment heureux s'eudorment those who love happy sleep aussi pales as pale celui de l'arbre niort celui des bPtes prises of the dead hee of the creatures caught ~~'endormirontjamais cette chanson de peine they will never lull to sleep this song of pain que d'autres ont repris d'autres la reprendront that others have taken up others !\.ill take up

[Iil Les espaces du sommeil The Spaces of Sleep (Robert Desitos) (Robert Desnos) Dans la nuit il y a naturellement In thenight there are naturally les sept merwilles du monde the seven wonders of the world et la grandeur et le tragique et le charme and greatness and tragedy and diarm. Les for& s'y heurtait confus6ment avec Forests clash there in confusion des crbtures de legende cachees with creatures of legend hldden in the~rfur. dans les fourreis. Il y a toi. There IS you. Dans la nult il y le pas du promeneur et celu In the mght the rvalker's step, de l'assassin et celui du sergent de ville the murderer's, the constable's et la lumi6re du r6verbPre and the street-lamp's light et ceUe de la lanteme du cli~ffonnier. and the rag-picker's lantern. Il y a toi. There 1s you. Dans la nult passent les trains et les bateaux In the night trams pass and ships et ie mirage des pays oh 11 fat jour. and the illusio~iof couitrles where ~tis day. Les demiers souffles du cr6puscule The last breaths of hvilight et les premlers fr~ssonsde l'aube and f~rsttrembling of dawn. U y a toi. There is you. Un air de piano, un eclat de voix. A piano tune, a voice's bright sound, Une porte claque. Une horloge. A door bangs. A dock. Et pas seulement les Ctres And not only beings et les choses et les bruits materiels. and things and noises of matter. Mais encore moi qui me poursuis But still I follorv on ou sans cesse me depasse. or constantly go beyond myself. 11 y a toi. I'immoli.e, toi que j'attends. There is you, the victim, you that I arvait. Parfois d'etranges figures naissent ~ometikesstrange figures are born 8 l'instant du sommeil et disparaissent. at the moment of slee~and disa~~ear. Quan je ferme les yeux, When I shut my eyes des floraisons phosphorescentes apparaissent phosphorescent florvers appear et se fanent et renaissent comme and fade and are born again des feux d'artifice charnus. like flesh-thick fireworks. Des pays inconnus que je parcours Unknorvn countries that I cross en compagnie de creatures. together with creatures. Il y a toi sans doute, There is you, certainly, 6 belle et discrete espionne. fair and discreet spy. Et P4me palpable de Petendue. And the palpable soul of the expanse. Et les parfums du ciel et des &toiles And the scents of heaven and of the stars et le chant du coq d'il y a 2000 ans and cock's cry of tl\ro thousand years ago et le cri du paon dans des pares and the cry of the peacock in the parks en flammes et des baisers. in flames and kisses. Des mains qui se serrent sinistrement Hands that join sinister dans une lumisre blafarde et des essieux in the pale light and axles qui grincent sur des routes medusantes. that grind on the stultifying roads. Il y a toi sans doute There is you, certainly, que je ne connais pas, that I do not know, que je connais au contraire. that I know on the contrary. Mais qui, presente dans nies rCves, But rho, present in my dreams, t'obstines B s'y laisser deviiier insist on letting yourself be guessed sans y paraitre. at without appearing there. Toi qui restes insaisissable You who stay beyond reach dans la realit6 et dans le rCve in reality and in dream. Toi qui m'appartiens de par ma volonte You ivho belong to me through my wish de te posseder en illusion to possess you in imagination mais qui n'approclies ton visage du mien but who only bring your face near mine que mes yeux clos aussi bien au reve rvlien my eyes are shut, in dreams qu'8 la rblite. or in reality. Toi qu'en depit d'une rhetorique facile You in spite of facile rhetoric ou le flot meurt sur les plages, rvhere the wave dies on the shores, ou la corneille vole dans des usines en mine, where the crow flies in ruined factories, ou le bois pourrit en craquant where the wood rots cracking sous un soleil de plomb. under a leaden sun. Toi qui es la base de mes r@ves You rvho are the basis of my dreams et qui secoues mon esprit plein and who shake my spirit full de metamorphoses of metamorphoses et qui me laisses ton gant and who leave me your glove quand je baise ta main. when I kiss your hand. Dans la nuit il y a les etoiles In the night there are stars et le mouvement tenebreux de la mer, and the dark movement of the sea, des fleuves, des forCts, des villes, des herbes, of rivers, forests, towns, plants, des pounions de millions of the lungs of millions et millions d'Ctres. and millions of beings. Dans la nuit il y a les merveilles du monde. In the night there are the wonden of the world. Dans la nuit il n'y a pas e'anges gardiens, In the night there are no guardian angels, mais il y a le sommeil. but there is sleep. Dans la nuit il y a toi. In the night there is you. Dans le jour anssi. In the day too. Witold LUTOSLAWSKI (1913- 1W4) Orchestral Works Vd. 3

Paganini Variations (9- iMI;bapcr,f'ko)

81 Sympheny No. 3