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Copyright Yvonne Chen 2019 Copyright Yvonne Chen 2019 Yvonne Chen: Lutosławski’s Piano Concerto ii ABSTRACT Lutosławski’s Piano Concerto by Yvonne Chen This document is a comprehensive study of Witold Lutoslawski’s Piano Concerto (1987-88), a masterpiece of the post-modern era. A biographical look into Lutoslawski’s fifty year gestation with the ideas for the music shows the inspirations, genesis, and processes of materials used in the piece, which straddles tradition and modernity in refreshing ways. An analysis of the work clarifies the many points of inspiration – from the pianism of Chopin to the woodwind timbres of Stravinsky, and his use of ad libitum sections to support his pragmatic approach to notation or his development of “chain form.” Following Lutoslawski’s ideas about music perception, this document includes performance observations from recordings including those by the work’s dedicatee and the composer himself. Finally, I provide a practical guide for pianists to discern and approach the technical and musical difficulties of the piece in Part Four. Yvonne Chen: Lutosławski’s Piano Concerto iii ACKNOWLEDGMENTS Many thanks to Yuri McCoy, friend, colleague, collaborator, organist-arranger extraordinaire, and birthday fellow, who was the first to introduce me to this piece. Without his enthusiasm for this piece and his persistence, I might have never come across it, let alone learn it. It is to him I have to thank for having the patience for spirited conversations while we figured out the piece note-by-note together in many rehearsals, and I want to thank him for taking it on the road with me to share it with people in Houston, Washington, DC, and Charleston thus far. It is with great thanks to my teacher, Brian Connelly, whose support of my varying interests in repertoire throughout my graduate studies and guidance in approaching post-modern music in a critical way has made a lasting impression. The lens through which I listen and analyze music has undoubtedly been shaped by our lessons. Also at the Shepherd School, I am indebted to Dr. Richard Lavenda, my advisor and chair of my document committee. His encouragement, direct and positive feedback, and his wealth of insight and experience into this document, as well as throughout my doctoral studies, have been invaluable. Thank you to my piano students. I am always learning from their different perspectives towards music and have found that our interactions with music have only further stimulated my own approach to music. Through working with them I also find myself compelled to find different solutions to different problems. Similarly, I would like to thank my engineer dad, Chih-Hung, whose analytical perspectives have seeped into my artist brain and helped me look at music through different lenses. I am grateful to my mom, Hui-Min, whose love for memoirs and interest in people’s stories was passed on to me, which in turn, made the hours of researching Lutosławski’s life a joy and pleasure. Thanks to my sisters Elisa and Elaine, whose many accomplishments are always keeping me driven in all my endeavors (but also for not going on for doctorates in their own fields so I can be our family’s first doctor)! Closest to my heart, I am grateful to Sir Reginald, my constant canine writing companion who was the best decision of my life when I first started the doctoral program. Lastly, my greatest admiration and gratitude is reserved for my husband, Brandon Bell. His support and belief in me through it all has Yvonne Chen: Lutosławski’s Piano Concerto iv kept me going throughout this journey, and whose own journey with his doctorate was a great source of inspiration. Yvonne Chen: Lutosławski’s Piano Concerto v TABLE OF CONTENTS ABSTRACT .................................................................................................................................................. ii ACKNOWLEDGMENTS ........................................................................................................................... iii TABLE OF CONTENTS .............................................................................................................................. v LIST OF MUSICAL EXAMPLES ............................................................................................................. vii INTRODUCTION ........................................................................................................................................ 1 PART ONE : LUTOSLAWSKI BIOGRAPHY ........................................................................................... 8 Impressions from his Youth ...................................................................................................................... 8 1937-38, Warsaw .................................................................................................................................... 13 War Interference ..................................................................................................................................... 18 The Right Pieces Coming Together ........................................................................................................ 20 A Lifetime of Self-Taught Experiments ................................................................................................. 23 PART TWO: ANALYSIS .......................................................................................................................... 28 Models of the past ................................................................................................................................... 28 Form ........................................................................................................................................................ 33 Melody and Harmony ............................................................................................................................. 36 Orchestration and Timbre ....................................................................................................................... 42 Texture .................................................................................................................................................... 45 Rhythm ................................................................................................................................................... 46 PART THREE: PERFORMANCE MODELS ........................................................................................... 56 The First Steps ........................................................................................................................................ 57 Krystian Zimerman, Witold Lutosławski, and the BBC Symphony Orchestra ...................................... 62 Ewa Poblocka, Lutosławski, and the Polish Radio National Symphony Orchestra ............................... 64 Yvonne Chen: Lutosławski’s Piano Concerto vi Krystian Zimerman, Sir Simon Rattle, and Berlin Philharmonic ........................................................... 68 Ewa Poblocka, Kazimierz Kord, and the Warsaw Philharmonic Orchestra ........................................... 72 Piotr Paleczny, Antoni Wit, and the Polish National Radio Symphony Orchestra ................................ 74 Garrick Ohlssohn, Jacek Kaspszyk, and the NFM Wroclaw Philharmonic Orchestra .......................... 75 Louis Lortie, Edward Gardner, and the BBC Symphony Orchestra ...................................................... 77 Leif Ove Andsnes, Franz Welser-Möst, and the Bavarian Radio Symphony Orchestra ........................ 78 Paul Crossley, Esa-Pekka Salonen, and the LA Philharmonic ............................................................... 79 PART FOUR: A PERFORMER’S GUIDE ................................................................................................ 81 Rhythmic Incongruities and Their Implications ..................................................................................... 82 Auditory Allusions .................................................................................................................................. 89 A Resonator ............................................................................................................................................ 93 Emotionalism in Lutosławski’s Piano Concerto ..................................................................................... 96 CONCLUSION ........................................................................................................................................... 99 APPENDIX A ........................................................................................................................................... 101 APPENDIX B ........................................................................................................................................... 103 SELECTED BIBLIOGRAPHY ................................................................................................................ 104 Yvonne Chen: Lutosławski’s Piano Concerto vii LIST OF MUSICAL EXAMPLES Example 2-1: chasing gestures, fourth movement, Rehearsal 98 ............................................................... 30 Example 2-2: third movement, Rehearsal 75, mm. 2 – Rehearsal 76 mm. 1-4 ......................................... 31 Example 2-3: linear and vertical expansion in piano left-hand motif, first movement, Rehearsal 2-4 ...... 37 Example 2-4: voice-leading and expansion of chords by semitone, first movement, Rehearsals 2-4 .......
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