Lutosławski’S Output

Total Page:16

File Type:pdf, Size:1020Kb

Lutosławski’S Output CMYK N Each of the five works on this recording occupies a significant place within Lutosławski’s output. The AXOS Dance Preludes represent the climax of his folk music-based period, whereas the Double Concerto and Grave are a part of a sequence of increasingly creative orchestral pieces that culminated in the Third Symphony in 1983. Chain I, written directly afterwards, explores a new way of creating extended forms, 8.555763 based on the concept of links in a chain. The Children’s Songs date from some thirty years earlier, and DDD can be regarded as Lutosławski’s political response to the Socialist Realism of the time. 8.555763 Witold LUTOS LUTOSŁAWSKI Playing Time (1913 - 1994) 57:34 Orchestral Works, Vol. 8 Ł Dance Preludes 0 Chain I 9:18 AW for Clarinet and Orchestra for 14 Performers 1 Allegro molto 1:03 Two Children’s Songs 8 Vol. SKI: Works, Orchestral 2 Andantino 2:35 for Voice and Chamber Orchestra 3 Allegro giocoso 1:18 4 Andante 3:11 ! The Belated Nightingale 2:39 5 Allegro molto 1:41 @ About Mr Tralalinski 2:24 Double Concerto Six Children’s Songs for Oboe, Harp and for Voice and Instruments www.naxos.com Made in Canada. Booklet Notes in English • Kommentar auf Deutsch h Chamber Orchestra # Dance 0:57 & 6 Rapsodico 5:07 $ The Four Seasons 2:08 g SKI: Orchestral Works, Vol. 8 Vol. SKI: Works, Orchestral 7 Dolente 6:54 % Kitten 1:43 2003 HNH International Ltd. 8 Marziale e grotesco 6:19 ^ Grzes is going through AW the village 1:32 Ł 9 Grave 5:43 Metamorphoses for Cello & ABrook 2:20 and String Orchestra * The Bird’s Gossips 0:42 Tracks 1 - 5 Zbigniew Kaleta, Clarinet • Tracks 6 - 8 Arkadiusz Krupa, Oboe 6 8 9 LUTOS Tracks - Nicolas Tulliez, Harp • Track Rafał Kwiatkowski, Cello Tracks ! - * Urszula Kryger, Soprano Polish National Radio Symphony Orchestra • Antoni Wit Recorded at the Grzegorz Fitelberg Concert Hall in Katowice 8.555763 Tracks 1 - 8 from 16th - 18th January 2001; Tracks 9 - * from 3rd - 6th April 2001 Producer, Engineer and Editor: Beata Jankowska • Booklet Notes: Richard Whitehouse Publishers: Polskie Wydawnictwo Muzyczne, Kraków and Chester Music Ltd., London Cover Painting by Chai Benshan AXOS Sponsored by the Polish Ministry of Culture and National Heritage N.
Recommended publications
  • Join the National Philharmonic in a Triumphant
    West End Off-Broadway United States International Entertainment Log In Re Washington, DC Sections Shows Chat Boards Jobs Students Video Industry Insider Join the National Philharmonic In a Hot Stories BroadwayWorld TV Triumphant Celebration of Poland's 100th Anniversary of Independence Complete Casting Announced for HOW TO by BWW News Desk May. 23, 2018 Tweet Share SUCCEED at the Kennedy Center TV Exclusive: Florida State Universi The National Philharmonic ends its 2017-2018 Southern Heat to Broadway S season at The Music Center at Strathmore with a musical celebration, "100th Anniversary of Poland's Independence," on Saturday, June 2 at 8 p.m. at the Concert Hall at the Music Center at Parris, Breckenridge, & More Strathmore. Conducted by world-renowned Join Drew Gehling in DAVE at Arena Stage Polish Maestro Miroslaw Jacek Baszczyk, the 10 DAYS TO GO ­ CLICK HERE TO V concert will feature music composed by LIVE UPDATE: Poland's greatest musicians, performed by SPONGEBOB SQUAREPANTS or ME some of today's leading vocalists and musicians. for Best Musical... The performance will commence with an introduction by the Ambassador of Poland, Mosaic's Third Season Concludes With Epic World Piotr Wilczek. The 100th anniversary of Poland has signicant meaning for The National Premiere Starring Hadi Philharmonic, which is led by Polish-born Music Director and Conductor Piotr Gajewski. Tabbal One of The National Philharmonic's veteran artists, Brian Ganz-who will perform at the Polish celebration concert-is also a frequent performer of Frédéric Chopin, beginning a quest in 2011 to perform all of the great Polish composer's works.
    [Show full text]
  • Tadeusz Baird. the Composer, His Work, and Its Reception
    Tadeusz Baird. The Composer, His Work, and Its Reception Eastern European Studies in Musicology Edited by Maciej Gołąb Editorial board Mikuláš Bek (Brno) Gražina Daunoravi ien (Vilnius) Luba Kyjanovska (Lviv) Mikhail Saponov (Moscow) Adrian Thomas (Cardiff) László Vikárius (Budapest) Volume 17 Eastern European Studies Barbara Literska in Musicology Edited by Maciej Gołąb Editorial board Mikuláš Bek (Brno) Gražina Daunoravi ien (Vilnius) Luba Kyjanovska (Lviv) Mikhail Saponov (Moscow) Tadeusz Baird. The Composer, His Adrian Thomas (Cardiff) László Vikárius (Budapest) Work, and Its Reception Volume 17 Translated by John Comber Bibliographic Information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliograe; detailed bibliographic data is available online at http://dnb.d-nb.de. Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. The Publication is funded by Ministry of Science and Higher Education of the Re- public of Poland as a part of the National Programme for the Development of the Humanities in 2017-2018, project number 21H 16 0024 84. This publication re- ects the views only of the author, and the Ministry cannot be held responsible for any use which may be made of the information contained therein. Printed by CPI books GmbH, Leck ISSN 2193-8342 ISBN 978-3-631-80284-7 (Print) E-ISBN 978-3-631-80711-8 (E-PDF) E-ISBN 978-3-631-80712-5 (EPUB) E-ISBN 978-3-631-80713-2 (MOBI) DOI 10.3726/b16420 Open Access: This work is licensed under a Creative Commons Attribution Non Commercial No Derivatives 4.0 unported license.
    [Show full text]
  • 1 'A Contrapuntal-Harmonic-Orchestral Monster'? Karol
    1 ‘A Contrapuntal-Harmonic-Orchestral Monster’? Karol Szymanowski’s First Symphony in the Context of Polish and German Symphonic Tradition Stefan Keym Institute of Musicology, University of Leipzig [...] itwillbeasortofcontrapuntal-harmonic-orchestralmonster,andIamalready looking forward to seeing the Berlin critics leaving the concert hall with a curse on their livid lips when this symphony will be played at our concert.1 This statement by Karol Szymanowski, made in July 1906 in a letter to Hanna Klechniowska, has often been taken to prove the opinion that his Symphony No. 1 op. 15 (composed in 1906/07)2 is an ‘insincere’ work written mainly to demonstrate the technical mastery of the young composer and not to express his personal feelings and values.3 In fact, Szymanowski’s op. 15 was fateful: After its one and only performance by Grzegorz Fitelberg and the Filharmonia Warszawska on 26th March 1909,4 it disappeared comple- tely from the concert programmes. In contrast to Szymanowski’s Concert Overture op. 12 (1904–05) and to his Symphony No. 2 op. 19 (1909–10), the score of his First Symphony was never revised by the composer5 and remains unpublished up to now.6 On the other hand, commentaries by artists on their own works should not be taken too literally. In his statements on some other, more successful compositions, young Szymanowski also mentioned mainly technical aspects: for example, he called the final fugue of his Second Symphony a ‘terrible ma- chine’ with a ‘devilishly complicated’ thematic structure.7 He also provided the musicologists Henryk Opieński and Zdzisław Jachimecki with detailed de- scriptions of the formal structure of his Second Symphony and of his Second 5 6 Stefan Keym Piano Sonata op.
    [Show full text]
  • The Polish Pianist Artur Hermelin
    M u z y k a l i a XIII · Judaica 4 The Polish Pianist Artur Hermelin H a n n a P a l m o n Introduction For many years, I knew about my late relative - the pianist Artur Hermelin - only this: that he grew up in Lwow (called Lemberg when he was born there in 1901); that he was a child prodigy; and that as a piano soloist he toured Europe with orchestras and gave recitals - some of which were broadcasted by the Polish Radio. I also knew that Artur perished in the Holocaust. When my father told me that, his eyes revealed how much he was still missing his cousin Artur, who had been one year older than him; that was 30 years after Artur’s tragic death, when I was still a child; it was far beyond my grasp, and it still is. We had an old small photo of Artur as a very young boy, hugging a big accordion and giving the camera a warm smile. During my recent attempts to collect details about Artur’s 41 years of life – I’ve read that Artur was among the musicians who were forced to perform music for the Nazis in the ghetto of Lwow and later in the labor camp; hundreds of thousands of Jews - Artur and his relatives among them - were murdered at the ghetto of Lwow and at its notorious Janowska camp, or transported from the ghetto or the camp to concentration camps, in the years 1941-1943. May the memory of the victims be blessed.
    [Show full text]
  • SHOSTAKOVICH Violin Concertos Nos
    SHOSTAKOVICH Violin Concertos Nos. 1 and 2 Ilya Kaler, Violin Polish National Radio Symphony Orchestra (Katowice) Antoni Wit, Conductor Dmitry Shostakovich (1 906-75) Violin Concertos Nos 1 & 2 Censured by Stalin, feted by Khruschev, celebrated by the world, a child of Tsarist Petersburg schooled by the first Leninists, public rhetorician, private soliloquiser: how will history choose to remember Shostakovich? As a chronicler of events epic and tragic, dimensions grotesque and satirical, perspectives elegiac and sentimental. As an essayer, a vivid essayer, of moods and confessions, of emotional discord and harmony. As a man, a genius, of destiny. Boris Tischenko, one of his students: "Our generation grew up on his music, and with his name on our lips. So our hearts would miss a beat when he took off his spectacles to clean them and we caught a glimpse of him, like a knight without armour, close to us, defenceless. The influence of his personality was so great that one began oneself to change, to become ashamed of one's insignificance, one's ineptitude, one's lack of understanding. That such a man lived has made the world a much finer place. We must all learn from him, and not from his music alone". As a human being of profound spiritual bitterness and disillusionment. Testament, the alleged memoirs (New York 1979): "Looking back I see nothing but ruins, only mountains of corpses ... There were no particularly happy moments in my life, no great joys. It was grey and dull and it makes me sad to think about it. It saddens me to admit it, but it's the truth, the unhappy truth".
    [Show full text]
  • Polish Musicians in the Concert Life of Interwar Paris: Short Press Overview and Extensive Bibliographic Guide1
    Polish Musicians in the Concert Life of Interwar Paris: Short Press Overview and Extensive Bibliographic Guide1 Renata Suchowiejko ( Jagiellonian University, Kraków) [email protected] The 20-year interwar period was a crucial time for Polish music. After Poland regained independence in 1918, the development of Polish musical culture was supported by government institutions. Infrastructure serving the concert life and the education system considerably improved along with the development of mass media and printing industries. International co-operation also got reinvigorated. New societies, associations and institutions were established to promote Polish culture abroad. And the mobility of musicians considerably increased. At that time the preferred destination of the artists’ rush was Paris. The journeys were taken mostly by young musicians in their twenties or thirties. Amongst them were instrumentalists, singers and directors who wished to improve their performance skills and to try their skills before the public of concert halls. Composers wanted to taste the musical climate of the metropolis and to learn the latest trends in music of that time. They strongly believed that 1. This paper has been prepared within the framework of the research programme Presence of Polish Music and Musicians in the Artistic Life of Interwar Paris, supported from the means of the National Science Centre, Poland, OPUS programme, under contract No. UMO-2016/23/B/ HS2/00895. The final effect of the project is the publication of a study Muzyczny Paryż à la polonaise w okresie międzywojennym. Artyści – Wydarzenia – Konteksty [Musical Paris à la polonaise In the Interwar Period: Artists – Events – Contexts] by Renata Suchowiejko, Kraków, Księgarnia Akademicka, 2020.
    [Show full text]
  • Stanisław MONIUSZKO
    Stanisław MONIUSZKO Overtures The Haunted Manor • Paria Halka • The Fairy Tale Warsaw Philharmonic Orchestra • Antoni Wit Stanisław Stanisław Moniuszko (1819-1872) MONIUSZKO Overtures (1819-1872) Stanisław Moniuszko was the leading opera composer in written in 1841 to a libretto by the Polish poet, playwright Overtures Poland during the nineteenth century. His work, as and author Aleksander Fredro, who devised a farcical plot Lennox Berkeley once wrote, may be said to ‘bridge the concerning the comic adventures of a man looking for his 1 Bajka (The Fairy Tale) – Overture gap in Polish music between Chopin and Szymanowski’. one true love. Representative of its composer, the score (ed. Witold Rowicki) (1848) 13:26 Born in Ubiel, near Minsk, he began piano lessons with includes a dashing mazurka. his mother at the age of four. In 1827 he studied music Moniuszko’s first substantial piece for full orchestra, with August Freyer in Warsaw and completed his training the overture Bajka (The Fairy Tale) was written in Vilnius 2 Paria – Opera: Overture with Carl Friedrich Rungenhagen at the Berlin in May 1848. One of his few concert works, its fantasia- (ed. Grzegorz Fitelberg) (1859-69) 9:46 Singakademie (1837-1839). After returning to Poland, he overture character suggests affinities with orchestral tone- married and settled in Vilnius, earning his living as a piano poems of the period, such as those by Franz Liszt. 3 Halka – Opera: Overture teacher, organist and conductor of the theatre orchestra. Contrasting themes are interwoven to form an extended (ed. Grzegorz Fitelberg) (1848) 8:36 Moniuszko’s output includes seven Masses, several narrative.
    [Show full text]
  • MAHLER Symphony No
    MAHLER Symphony No. 9 Polish National Radio Symphony Orchestra Michael Halisz, Conductor Gustav Mahler (1860 - 1911) Symphony No. 9 The great Viennese symphonic tradition found worthy successors in two composers of very different temperament and background, Anton Bruckner and GustavMahler. The latter, indeed, extended the form in an extraordinarywaythat has had afar-reaching effect on the courseof Western music, among otherthings creating a symphonic form that included in it the tradition of song in a varied tapestry of sound particularlyaptforatwentiethcenturythat has found in Mahler's work a reflection of its own joys and sorrows. Mahler was to express succinctly enough his position in the world. He saw himself as three times homeless, a native of Bohemia in Austria, an Austrian among Germans and a Jew throughout the whole world. The second child of his parents, and the first of fourteen to survive, he was born in Kaliste in Bohemia in 1860. Soon afterhis birth hisfamilymoved toJihlava, where hisfather, by hisown very considerable efforts, had raised himself from being little more than a pedlar, with a desire for intellectual self-im~rovement,to the ownership of a tavern and distillery. Mahler's musical abilitiesbere developed first in ~ihlava,before a brief period of schoolingin Prague, which ended unhappily, andalatercourseof study attheConse~atorvin Vienna, where heturnedfromthe pianotocompositionand, as a necessary cdro~~ary,to conducting. It was as a conductor that Mahler made his career, at first at a series of provincial opera-houses, then in Prague, Budapest and Hamburg, before moving toapositionof the highestdistinctionof all, when, in 1897, he becameKapellmeister of the Vienna Court Opera, two months after his baptism as a Catholic, a necessary preliminary.
    [Show full text]
  • The Fryderyk Chopin University of Music Department of Instrumental and Educational Studies in Bialystok
    The Fryderyk Chopin University of Music Department of Instrumental and Educational Studies in Bialystok Małgorzata Marczyk, MA Neo-romanticism and expressionism in the works of the Young Poland composers. Interpretation study of the piano and chamber works based on selected examples SUMMARY The artistic work of my doctoral thesis is to record the following works on a CD: Ludomir Różycki - Sonata in a minor op. 10 for cello and piano Karol Szymanowski - Six love songs of Hafiz op. 24 for voice and piano Grzegorz Fitelberg - Romances sans paroles op. 11 for violin and piano Mieczysław Karłowicz - Impromptu for violin and piano Apolinary Szeluto - Five preludes op. 6 for piano The description of artistic work is a characteristic of the phenomenon of the neo-romantic and expressionist style in the works of the above-mentioned composers, based on the interpretation study of the recorded works for the purpose of establishment of their artistic vision. The choice of authorship of the recorded and described works includes the selected works of eminent composers of the Young Poland period, who became the precursors of the Polish modernist direction. The great chamber form, two cyclical forms and two miniatures were subjected to a thorough analysis, necessary for the selection and determination of the analogies and discrepancies deciding about the performance aesthetics, as well as for the purpose of isolation of characteristic details of each artist’s individual sound language. The structure of the work consists of four chapters. The first chapter presents broadly understood Polish music at the turn of the 19th and 20th centuries in the context of the prevailing political and cultural situation.
    [Show full text]
  • MIECZYSŁAW KARŁOWICZ's VIOLIN CONCERTO in a MAJOR, OP. 8: HISTORY, STYLE and PERFORMANCE ASPECTS by MAŁGORZATA MARIA STASZE
    MIECZYSŁAW KARŁOWICZ’S VIOLIN CONCERTO IN A MAJOR, OP. 8: HISTORY, STYLE AND PERFORMANCE ASPECTS by MAŁGORZATA MARIA STASZEWSKA (Under the Direction of Stephen Valdez and Levon Ambartsumian) ABSTRACT The Polish violin concerto literature includes a fine concerto that is rarely performed outside of Poland: Mieczysław Karłowicz’s (1876-1909) Violin Concerto in A major, Op. 8, written in 1902. Today the concerto is widely played in Poland, but it still has not earned a strong reputation abroad. The possible reasons for its lack of popularity are the short life of the composer, which gave him little time to promote the piece, and his conflict with the Polish musical establishment, which banned performances of his music. The literature regarding the piece is limited, especially in English. Occasional reviews/articles or CD liner notes mention its excellent idiomatic violin writing, but this issue is not discussed in detail. The lack of worldwide publications of the part, the rare recordings by international performers, and the absence of scholarly analyses on the performance aspects of the piece contribute to its obscurity. The goal of this study is to promote the piece by presenting its values: a skillfully outlined form, idiomatic violin writing, expressive musical content, and the combination of both virtuosic technique and musical interest. Chapter one provides a sketch of the historical background of the Polish violin concerto’s evolution, followed by Karłowicz’s biographical information and work style description focusing on his Violin Concerto. Chapter two is a formal analysis of the piece illustrated by analytical charts and musical examples. Chapter three discusses the technical and editorial violin issues, phrasing, and sound production problems related to its performance.
    [Show full text]
  • Nationalism in Karol Szymanowski's Mazurkas No
    Nationalism in Karol Szymanowski’s Mazurkas No. 1-4, Op. 50: The Influence of Goral Music A doctoral document submitted to the Division of Graduate Studies and Research of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Keyboard Studies Division of the College-Conservatory of Music 2007 By Sun-Joo Cho 2410 Ohio Ave. #201 Cincinnati, OH 45219 B.M., Ewha Women’s University, Seoul, South Korea, 1997 M.M., University of Cincinnati, 2001 Committee Chair: Dr. Robert Zierolf Abstract Karol Szymanowski was a successor to the Polish nationalism of Chopin, and truly was an important figure as the bridge between Chopin and twentieth-century composers including Lutoslawski, Penderecki, Gorecki, and Paderewski as a figure of international fame. He composed two sets of mazurkas: 20 Mazurkas, Op. 50 (1924-25) and Two Mazurkas, Op. 62 (1933-34), his last completed works. His mazurkas are commonly understood to have been directly inspired by Chopin’s. However, Szymanowski’s were also influenced by Poland’s postwar independence, Bartok’s nationalism, Stravinsky’s Russian Period music, and musical contacts with the Gorale and personal experiences in Zakopane, located in the Podhale region in the Tatra Mountains in the early 1920s. Among these influential factors, the music in the Podhale region was the biggest motivation and musical basis in composing a set of Mazurkas, Op. 50. Written in Zakopane in the 1920s, they show many general musical characteristics from the “highland” mountain area and are clearer examples of nationalism than Op. 62.
    [Show full text]
  • Digital Program KOSCIUSZKO FOUNDATION CHOPIN COMPETITION for KOSCIUSZKO FOUNDATION YOUNG PIANISTS 2020
    chopincompetitiondc.org Digital Program KOSCIUSZKO FOUNDATION CHOPIN COMPETITION FOR KOSCIUSZKO FOUNDATION YOUNG PIANISTS 2020 KOSCIUSZKO FOUNDATION With great excitement and pride I welcome you to the 2020 Kosciuszko Foundation Online Chopin Piano Competition for Young Pianists. Two years ago, in 2018, we hosted the inaugural competition in Washington D.C., and last year, in 2019, we organized the Chopin Piano Academy, an intensive weekend of master classes. Both events were a great success and a truly wonderful experience for all involved. The year 2020 has brought changes and challenges, and we are not able to host the 2020 competition in person. Barbara Bernhardt, Director Instead, we invite you to join us virtually. Please tune in to witness this remarkable musical happening, where we will Kosciuszko Foundation have a chance to see and hear 33 young and talented Washington D.C. pianists from all around the world. I wish to all our contestants good luck and to all of you a wonderful weekend with the music of Chopin! CHOPIN COMPETITION D.C. It is my pleasure and great honor to welcome you to the 2nd edition of the Kosciuszko Foundation Chopin Competition for Young Pianists. This year has brought an unexpected change in our lives, which resulted in the cancelation of the majority of musical events around the world. However, as a wise person once said “If you will it, it is no Dream." We at the Kosciuszko Foundation always strive to achieve our dreams and this online competition is the sole proof of that. Our never-ending goal is to continue to foster the legacy of Poland’s greatest composer among the youngest generation of pianists.
    [Show full text]