Witold Lutosławski’S Music in the Musical Life of Poland and the World
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REPORT on the presence of Witold Lutosławski’s music in the musical life of Poland and the world by Ewa Cichoń Translation: Monika Tacikowska Proofreading: Alan Lockwood Institute of Music and Dance Warsaw, 2013 The Report on the presence of Witold Lutosławski’s music in the musical life of Poland and the world has originated in the Institute of Music and Dance, which in 2013 also performs the role of the Lutosławski Year Celebrations Office. The publication’s objective is to provide an account of the presence of Lutosławski and his music from the composer’s death in 1994 until the start of his birthday centenary celebrations, that is the end of 2012. This report will be supplemented in early 2014 with information on the events and achievements of the Witold Lutosławski Year 2013. I would like to express my profound thanks to Ms Ewa Cichoń, the report’s author, for the extensive effort she put into bringing this document to life, and to the other persons and institutions involved in its creation – thank you for sharing your data with us and assisting us in the making of the report. Andrzej Kosowski Director of the Institute of Music and Dance, Representative of the Minister of Culture and National Heritage for the Lutosławski Year Celebrations 2 REPORT on the presence of Witold Lutosławski’s music in the musical life of Poland and the world In memory of Jadwiga Paja-Stach (1949-2011) The information presented in this report covers many different areas of the reception of Witold Lutosławski’s oeuvre, including publications and performances of individual pieces and their radio broadcasts (Polish Radio EBU), audio and video recordings, literature, films and television programmes (TVP), websites devoted to the composer’s life and oeuvre, persons and institutions who study and promote his work, institutions named after Witold Lutosławski, and other occurrences connected with Lutosławski and his music, as well as pieces by other composers dedicated to the Polish artist – especially ones containing a dedication in the title. The report relates to the period from the composer’s death in 1994 until the end of 2012. Some analyses and lists include data referring to the period before 1994, for instance the list of literature features books published before 1994 and available in December 2012, as well as documentary films or other composers’ pieces dedicated to Lutosławski that were created before 1994, along with those created in 1994 and after (the report contains a selection of compositions which the author found either on the Internet or through music companies). More space has been devoted to performances in Poland and abroad, recordings, and also literature. The statistics on performances range from 2004 to 2012, while the data on performances abroad cover the period from 1999 to 2003. The table presenting broadcasts on Polskie Radio [Polish Radio], Poland’s national radio broadcaster, covers 2006 to 2012 and is arranged by titles. A separate table contains a list of Polish Radio’s offers submitted to the EBU repository. Tables of publications by PWM Edition, Moeck and Others (releases by Moeck and other publishers referring to two titles) and Chester contain works issued after 1994 and available in December 2012, arranged alphabetically by title. The abbreviations used in the tables refer to the type of publication, i.e. hardcopy scores (N for PWM, Moeck and others; SM for Chester), electronic scores (eN), orchestra materials for hire, parts (MO for PWM, Moeck and others; OP for Chester). Brackets indicate publication series or type of notation, e.g. BMP (Biblioteka Małych Partytur, or Library of Miniature Scores) on the PWM Edition list, or “study score” on the Chester list. 3 CONTENTS: PERFORMANCES IN POLAND AND ABROAD ……………………………… p. 6 Analysis of the frequency of concert performances of Lutosławski’s works in different countries and cities; rankings of the number of performances for given periods and individual pieces. TRACING FESITIVALS AND JUBILEES. POLAND …………..…...….. p. 7 LONDON, BERLIN AND HONOLULU. THE WORLD ….……..……..... p. 11 RANKING OF THE MOST POPULAR ORCHESTRA WORKS …….... p. 13 CHAMBER MUSIC .........………………………………………………….. p. 17 CHILDREN’S, FOR CHILDREN, DERWID… .……………………......... p. 20 SELECTED FESTIVALS IN POLAND after 1994 ……………………..……... p. 23 CD RECORDINGS AFTER 1994……....………………………………………... p. 34 Summary of the most important developments with examples of albums and series; rankings of recordings by music company, by title and for given years. FROM THE ARCHIVE. UNFORGETTABLE ONES …..…………….…. p. 35 NAXOS AND LUTOSŁAWSKI ……………………..…………….……….. p. 36 DIFFERENT CONTEXTS ..........……………………………………….…. p. 38 RANKING OF RECORDINGS BY TITLE ......…...……………….......…. p. 39 RANKING OF MUSIC COMPANIES .………………………….……...…. p. 40 RANKING OF THE FREQUENCY OF RELEASES ...……………..…... p. 43 LUTOSŁAWSKI IN SUPER AUDIO ...............................…………….… p. 44 MOST RECENT SERIES AND ALBUMS ………………...............……. p. 45 LITERATURE AFTER 1994 ………………………………..……........………… p. 48 LITERATURE – LIST OF PUBLICATIONS ………………….……..…………. p. 49 4 FILMS AND DVDs …………………………………….........................………… p. 53 PROGRAMMES broadcast on TVP in 1994-2012 Documentary films, interviews, reports, accounts ………………………… p. 56 (source: TVP archive) WEBSITES devoted to Witold Lutosławski ……………………….…………. p. 60 RESEARCHERS AND PROMOTERS ………………..………………………… p. 68 INSTITUTIONS popularising and promoting Witold Lutosławski’s music .................…………………………….……………………………..……… p. 72 INSTITUTIONS, FESTIVALS, COMPETITONS bearing the name of Witold Lutosławski ………….………………………………………………................... p. 75 OTHERS CONNECTED WITH Witold Lutosławski ……………........................................………………….… p. 78 MUSICAL WORKS DEDICATED TO WITOLD LUTOSŁAWSKI …………..……………….................……..………… p. 79 RESULTS OF AN OMNIBUS SURVEY on Witold Lutosławski ………………………………………………….……..… p. 83 APPENDICES: PUBLICATIONS OF WITOLD LUTOSŁAWSKI’S WORKS ………...……..… p. 86 BROADCASTS ON THE POLISH RADIO and offers submitted to EBU 2006- 2012 …………….....................................................................................…… p. 103 5 PERFORMANCES IN POLAND AND ABROAD To state that a composer’s pieces have been performed “frequently almost everywhere in the world” may be a simple truism if the “frequently” and “almost everywhere” remains unspecified. This report, based on an analysis of a few thousand pieces of information, aims to verify the perceptions about the frequency with which Witold Lutosławski’s works have been performed after 1994. The calculations presented below also serve to specify where – in Poland and abroad – and how often in given periods the composer’s pieces were performed, and which were performed more (or most) often, as opposed to ones which were performed less (the least) commonly. The report does not focus on how often the pieces were performed by a given artist or ensemble, although the names of performers are given in examples. It should be noted that the figures cited in the report, even if related to the best documented periods, must be treated as estimates. The main source of data for this part of the report were registers of performances kept by the publishers of the composer’s works, i.e. PWM Edition (2004-2012), Chester Novello (1999-2012) and Moeck (1994-2006). The registers contain for the most part performances for which the publishers have lent orchestra materials. The Chester registry also takes into account many performances of chamber pieces, while this type of information is scarce in the PWM Edition registry. Another important source of data on Polish performances was the information made available by ZAiKS, Poland’s leading collective-rights management company. However, this information was related only to performances for which a fee was charged (some might have been free of fees) and collected by the end of December 2012, meaning that the latest performances of that period may not have been listed yet. As a complementary source to the data obtained from publishers and ZAiKS, this report uses programmes of most major Polish and international festivals, orchestra repertoires, and concert schedules of selected artists, mostly ones available on the Internet. These materials were used for cross-checking, and revealed on a few occasions performances left for various reasons out of the registers examined, namely some chamber pieces and a few symphony works. Examples include performances of Koncert na orkiestrę [Concerto for Orchestra] and Koncert fortepianowy [Piano Concerto] at the Edinburgh International Festival in autumn 2012 (Cleveland Orchestra / F. Welser-Möst; L. Vogt – pf) or of the latter piece during the Master Concerts series held by the Croatian Radiotelevision in Zagreb (Croatian Radio Television Symphony Orchestra / N. Bereza, P. Kowalski). Polish “newly discovered” performances include Concerto for Orchestra and Livre pour orchestre played at the Witold Lutosławski Studio in Warsaw in 2009 (NOSPR / J. Kaspszyk) and broadcast by Polish Radio. *** 6 Considering only the best documented period from the beginning of 2004 until the end of 2012, there were almost 2000 performances of Lutosławski’s individual pieces and their series, half of which took place in Poland. The number is not equal to the number of concerts, although most often there was one piece per concert, while less frequently there were two or more, and some concerts were made up exclusively of Lutosławski’s music. It may be then concluded that during these