12:01
Witold Lutoslawski - Symphony No. 3 (1/3)
Symphony No. 3 (1972-1973) Los Angeles Philharmonic Esa-Pekka Salonen Witold Lutoslawski i...
published: 10 Jan 2011
Author: pelodelperro
Witold Lutoslawski - Symphony No. 3 (1/3)
Symphony No. 3 (1972-1973) Los Angeles Philharmonic Esa-Pekka Salonen Witold Lutoslawski is known as one of the great orchestral composers of the latter half of the twentieth century. His music is rooted in the Classical-Romantic tradition as well as the spirited character of Eastern European predecessors such as Bartók, Prokofiev, and Szymanowski. Along the way, though, he introduced a number of innovations in keeping with the avant-garde tendencies of his Polish compatriots. He managed to strike a balance, somehow, between novel, even aleatoric textures, chromatically expressive melodies, wide-ranging rhythms, and a clear formal balance that conveyed an engagingly dramatic narrative. His Symphony No. 3 is the most ambitious, and possibly the most successful, example of his style. Lutoslawski struggled for many years with this score. Begun in the early 1970s as a prestigious commission for the Chicago Symphony Orchestra, he finally delivered the completed score in 1983. In discussions on its genesis, Lutoslawski has tended to focus on his own difficulties in working through Poland's period of Martial Law, a difficult time for those engaged in artistic expression. There are "martial" elements in the piece, particularly in the aggressive brass motives that impose themselves at various points, but this work is not programmatic, or possessed of a literal narrative. One of the composer's main concerns was to find a way to incorporate lighter, more melodic passages into his <b>...</b>
8:48
Witold Lutoslawski - Funeral Music 1/2
Funeral Music for Strings (1954-1958) 1. Prologue 2. Metamorphoses 3. Apogeum 4. Epilogue ...
published: 21 Dec 2009
Author: pelodelperro
Witold Lutoslawski - Funeral Music 1/2
Funeral Music for Strings (1954-1958) 1. Prologue 2. Metamorphoses 3. Apogeum 4. Epilogue Polish National Radio Symphony Orchestra (Katowice) Antoni Wit For those familiar only with the early music of Lutoslawski — such as the widely admired Concerto for Orchestra — or with the later symphonies and "Chain" pieces, the Musique funèbre ("Funeral Music in memoriam Bela Bartók") for string orchestra (1958) will be something of a surprise. The early folk-like music — relating strongly to the music of Bartók and of a great Polish predecessor, Karol Szymanowski (1882-1937) — was conservative by necessity, since the repressive Communist government regnant after World War II allowed very little in the way of artistic freedom. But something of a political "thaw" set in after 1956, and Lutoslawski was one of dozens of Polish composers who responded by radically exploring avant-garde developments. The result is Lutoslawski's only important 12-tone work. Musique funèbre doesn't sound as dry or doctrinaire as most of the other serialist music from its time, but it takes an expressive performance to bring out its unique power. The work has four sections (each titled in Lutoslawski's beloved French), the last three of which proceed to the next without pause. The lugubrious, flowing "Prologue," an homage to the first movement of Bartók's Music for Strings, Percussion and Celesta, lays out the twelve-tone row in strict canon. The first version is played by two solo cellos in canon at the <b>...</b>
9:24
Witold Lutoslawski - Chain II 1/2
Chain II: Dialogue for Violin and Orchestra (1984) 1. Ad libitum 2. A battuta 3. Ad libitu...
published: 21 Dec 2009
Author: pelodelperro
Witold Lutoslawski - Chain II 1/2
Chain II: Dialogue for Violin and Orchestra (1984) 1. Ad libitum 2. A battuta 3. Ad libitum 4. A battuta - Ad libitum - A battuta Krzysztof Bakowski, violin Polish National Radio Symphony Orchestra (Katowice) Antoni Wit *Naxos (1996) After the crowning achievement of his Symphony No. 3, Witold Lutoslawski searched for new forms to explore. He had spent much of his career working to perfect the single-movement symphonic form, but by the mid-1980s, his attention had shifted toward chamber music and the solo voice. He had, in fact, composed his Partita for violin and piano in 1984, and in that piece had developed new means for sustaining melodic lines with sparse textures and harmonies that were more suitable for a chamber setting. The opportunity to write something for the phenomenal Anne-Sophie Mutter no doubt served as inspiration for Lutoslawski's Chain 2, dialogue for violin and orchestra, composed just a year after the Partita. Apart from featuring the violin, however, there is little resemblance between the two pieces, a remarkable fact considering their chronological proximity. Chain 2 takes its title from a technique Lutoslawski had developed earlier in his career, but which had preoccupied him in the 1980s. The notion of the "chain" derives from the overlapping of distinct materials. For example, a phrase launched by the violin may be picked up in midstream by woodwinds, while the violin then drops out. Then another instrument may enter playing something new, and <b>...</b>
8:41
Bruno Vlahek - Lutoslawski: Paganini Variations
Pianist Bruno Vlahek performing Witold Lutoslawski's Variations on a theme by Paganini...
published: 25 Jul 2007
Author: musicLP
Bruno Vlahek - Lutoslawski: Paganini Variations
Pianist Bruno Vlahek performing Witold Lutoslawski's Variations on a theme by Paganini with Symphony Orchestra of Croatian Radiotelevision and conductor Tomislav Facini. Live recording from the concert on 12 March 2004 in Zagreb (Croatia).
7:01
Lutoslawski - Concerto for Orchestra - I - Intrada: Allegro
...
published: 24 Feb 2009
Author: guitars2112
Lutoslawski - Concerto for Orchestra - I - Intrada: Allegro
10:12
Witold Lutoslawsky - Chain I - London Sinfonietta
Witold Lutoslawsky conducting Chain I. London Sinfonietta...
published: 20 May 2006
Author: suasoires
Witold Lutoslawsky - Chain I - London Sinfonietta
Witold Lutoslawsky conducting Chain I. London Sinfonietta
5:31
Witold Lutoslawski - Symphony No. 1 - Movement I. Allegro Giusto
1st movement of Lutoslawski's First symphony performed by the Polish National Radio Sy...
published: 13 Jan 2010
Author: ScriabinFanatic
Witold Lutoslawski - Symphony No. 1 - Movement I. Allegro Giusto
1st movement of Lutoslawski's First symphony performed by the Polish National Radio Symphony Orchestra
9:46
Lutoslawski Cello Concerto 1.mov
Nicolas Altstaedt (cello), Finnish Radio Symphony Orchestra, Dmitri Slobodeniouk...
published: 06 Feb 2010
Author: haekueroenstoe
Lutoslawski Cello Concerto 1.mov
Nicolas Altstaedt (cello), Finnish Radio Symphony Orchestra, Dmitri Slobodeniouk
10:27
Witold Lutosławski, Chantefleurs et Chantefables (1/2)
Witold Lutosławski (1913-1994): Chantefleurs et Chantefables, per soprano e orchestra...
published: 07 Nov 2010
Author: puncuspallinus
Witold Lutosławski, Chantefleurs et Chantefables (1/2)
Witold Lutosławski (1913-1994): Chantefleurs et Chantefables, per soprano e orchestra, su testi di Robert Desnos (1990) - Olga Pasiecznik, soprano - Polish National Radio Symphony Orchestra, diretta da Antoni Wit
8:42
Witold Lutosławski - String Quartet - I. Introductory Movement
Witold Lutosławski (1913-1994) String Quartet (1964) I. Introductory Movement II. Mai...
published: 01 Nov 2009
Author: Epogdous
Witold Lutosławski - String Quartet - I. Introductory Movement
Witold Lutosławski (1913-1994) String Quartet (1964) I. Introductory Movement II. Main Movement For his String Quartet (1964), Lutosławski originally produced only the four instrumental parts, refusing to bind them in a full score, because he was concerned that this would imply that he wanted notes in vertical alignment to coincide, as is the case with conventionally notated classical ensemble music. The LaSalle Quartet, however, specifically requested a score from which to prepare for the first performance. His wife Danuta solved this problem by cutting up the parts and sticking them together in boxes (which Lutosławski called mobiles), with instructions on how to signal in performance when all of the players should proceed to the next mobile. In his orchestral music, these problems of notation were not so difficult, because the instructions on how and when to proceed are given by the conductor. Lutosławski's called this technique of his mature period "limited aleatorism". ~ Wikipedia
5:24
Witold Lutoslawski: Two Etudes
Witold Lutoslawski: Two Etudes Piano: Martin Malmgren Venue: Piano Festival 2008...
published: 14 Nov 2008
Author: wwwkyrkancom
Witold Lutoslawski: Two Etudes
Witold Lutoslawski: Two Etudes Piano: Martin Malmgren Venue: Piano Festival 2008
12:21
Witold Lutoslawski - Concerto for Orchestra, I-II
Concerto for Orchestra (1950-1954) I. Intrada II. Capriccio, Notturno e Arioso III. Passac...
published: 15 May 2011
Author: pelodelperro
Witold Lutoslawski - Concerto for Orchestra, I-II
Concerto for Orchestra (1950-1954) I. Intrada II. Capriccio, Notturno e Arioso III. Passacaglia, Toccata e Corale L'Orchestre de la Suisse Romande Paul Kletzki With the close of World War II, the musical life of Poland experienced something of a renaissance, in which Lutoslawski played a significant role. After marrying in 1946, however, he was forced to spend much of his composing time creating "functional" music -- music for theatre and film, children's songs, and arrangements of folk and popular tunes -- to support his growing family. His more serious works encountered resistance from the Stalinist regime in Poland; his First Symphony (1947) was banned for a time for "formalism." Partly as a result of his own interest and partly due to the influence of the cultural commissars, Lutoslawski turned to folk music for inspiration in many of his works of the late 1940s and early 1950s. This was the case with the Concerto for Orchestra, which was commissioned by conductor Witold Rowicki, to whom the work is dedicated, who wanted a new composition for his recently created Warsaw National Philharmonic Orchestra (founded in 1950). Written over a five year span, the Concerto was premiered by Rowicki and his orchestra in Warsaw on November 26, 1954. Lutoslawski called the Concerto "the only serious piece" among his folk music inspired works. The influence on Lutoslawski's Concerto of Béla Bartók's Concerto for Orchestra of just a few years before is hard to ignore. The themes in <b>...</b>
6:30
WITOLD LUTOSLAWSKI: "Grave" for Cello and Piano
(also known as "Metamorphoses for Cello and Piano") Caroline Stinson, cello Moll...
published: 01 Jul 2011
Author: AlbanyRecordsUSA
WITOLD LUTOSLAWSKI: "Grave" for Cello and Piano
(also known as "Metamorphoses for Cello and Piano") Caroline Stinson, cello Molly Morkoski, piano from Albany TROY1281 www.albanyrecords.com Caroline Stinson offers beguiling performances of this imaginative program. Lines, the title of this imaginative program, beguilingly performed, links pupils to teachers in three principal strands Bloch-Sessions-Harbison; Lutoslawski-Stucky-Waggoner and Weesner; and Boulanger-Carter. While it is difficult to overestimate the influence of a powerful mentor, not all mentor relationships develop in formal arrangements. Carter was deeply influenced by Sessions, and was close with him, without having enrolled as his student. Both Waggoner and Weesner forged close relationships with Harbison, and in different works reveal Harbison's influence as much as Stucky's. While in his early works Harbison often exhibited Sessions' influence, his baroque sensibilities have more in common with the neoclassical predispositions of Bloch, his "grand-teacher." The criss-crossing of the lines hints at the wealth and variety of music influence and tradition. Acclaimed cellist Caroline Stinson offers magnificent performances of this repertoire. Noted for her vibrant lyricism and fresh interpretations, Ms. Stinson is on the faculty at Syracuse University and The Juilliard School. Contents: Ernest Bloch, composer Suite No. 3 for violoncello solo Caroline Stinson, cello Roger Sessions, composer Six Pieces for Violoncello Caroline Stinson, cello John Harbison <b>...</b>
9:59
Witold Lutoslawski - Piano Sonata: Allegro
This is Lutoslawski's Sonata for Piano, 1st part: Allegro performed by Gloria Cheng...
published: 15 Jan 2010
Author: ScriabinFanatic
Witold Lutoslawski - Piano Sonata: Allegro
This is Lutoslawski's Sonata for Piano, 1st part: Allegro performed by Gloria Cheng
Vimeo results:
0:51
Witold Lutoslawski, Paganini Variations, Lucerne Piano Festival Opening Concert
published: 16 Sep 2009
Author: Ayca Apak Tonge
Witold Lutoslawski, Paganini Variations, Lucerne Piano Festival Opening Concert
6:14
Lutoslawski – Variationen über ein Thema von Paganini
Klavierduo Mona & Rica Bard, KrausFrink Percussion:
Witold Lutoslawski, Variationen über e...
published: 06 Mar 2012
Author: Filmatelier
Lutoslawski – Variationen über ein Thema von Paganini
Klavierduo Mona & Rica Bard, KrausFrink Percussion:
Witold Lutoslawski, Variationen über ein Thema von Paganini / Variations on a theme by Paganini
Arrangement: Marta Ptasazynska
Ein Konzertmitschnitt vom 9.10.2011 aus der Philharmonie Berlin
Zusätzliche Informationen zu den Künstlern:
www.mona-rica-bard.de
www.krausfrink.de
1:08
An Invisible Barrier
My 60 seconds video is about the so supposed mutual understanding between the conversing p...
published: 04 Jun 2012
Author: korzac
An Invisible Barrier
My 60 seconds video is about the so supposed mutual understanding between the conversing persons. But an invisible barrier of errors and misinterpreting
falsifies the conversation. There is only one remedy to this state of affairs: love.
From another point of view consider "The Conversation as an Introduction to Solitude".
The music, "Venetian Games", is by the Polish composer Witold Lutoslawski
64:06
Ophelia's Gaze - a chamber opera
Ophelia's Gaze (2008) - a chamber opera
music, live audio and video, staging - Steve EVERE...
published: 27 Dec 2008
Author: Steve Everett
Ophelia's Gaze - a chamber opera
Ophelia's Gaze (2008) - a chamber opera
music, live audio and video, staging - Steve EVERETT
text - Bellocq's Ophelia (Graywolf Press, 2002) - Natasha TRETHEWEY
soprano - Katherine BLUMENTHAL
strings - VEGA QUARTET
video "Shiver" - Isabelle DEHAY
costume and stage design - Leslie TAYLOR
Scenes
1. Bellocq’s Ophelia voice, speaker (N. Trethewey), digital audio
2. Letter Home - voice, quartet, digital audio
3. Letters from Storyville: December 1910 - speaker, digital audio
4. Countess P’s Advice - voice, quartet
5. February 1911, Spectrum - speaker, digital audio
6. March, 1911 - speaker, quartet
7. Bellocq - speaker, digital audio
8. Vignette - voice, cello, live motion capture video
9. Shiver - voice, digital audio, video
10. (Self) Portrait, Postcard - speaker, digital audio
Notes - This is a monodrama structured as a reverie on Ophelia, the young girl portrayed in Emory poet, Natasha Trethewey’s collection, Bellocq’s Ophelia. The set of poems was written as a narrative sequence and contains the imagined thoughts and perceptions of one of the young prostitutes photographed by E. J. Bellocq in 1912 who worked in a brothel in the Storyville section of New Orleans. The aural-visual relationships in my composition will unfold as a series of tableau using the consciousness of dreams, memories, and reveries described in French philosopher Gaston Bachelard’s last work, La Poétique de la Réverie (1960).
The text is sung and spoken by a soprano/narrator who encounters multiple reflections of her own image and the environment in which she exists or imagines. She interacts musically with the string quartet members and visually with her own images reflected in video “mirrors.� Video cameras and microphones are used to transform her visual identity and voice through interactive computer-processing programs. Technology used in the performance include MaxMSP live music processing environment, a hemispherical audio speaker array, and an interactive video motion capture system developed for this production. This video system consists of infrared light, motion-capture hardware combined with the Eyecon Motion Sensing software and Isadora Graphic Programming Environment.
Biographies
Steve Everett, composer
Steve Everett is Professor of Music and teaches composition, computer music, and directs the Music-Audio Research Center at Emory University. In addition he has recently been a visiting professor of composition at Princeton University, Eastman School of Music, Conservatoire National Supérieur de Musique de Paris, the Conservatoire de Musique de Genève in Switzerland, Rotterdam Conservatory of Music, and Utrecht School of the Arts. Many of his recent compositions involve performers with computer-controlled electronics and have been performed in seventeen different countries throughout Europe, Asia, and North America, including at IRCAM and INA-GRM Radio France in Paris, Orgelpark in Amsterdam, The Esplanade in Singapore, University of Göteborg-Sweden, Korea Computer Music Festival in Seoul, Royal Northern College of Music in England, Amerika Haus in Cologne-Germany, Tokyo Denki University, and Lincoln Center, Carnegie Hall, and Merkin Hall in New York. Composition awards have been received from the Rockefeller Foundation, Asian Cultural Council, Chamber Music America, American Composers Forum, and International Trumpet Guild. He is recorded on SCI, Crystal, Mark, Frog Peak and ACA Digital Records. He has been a resident research fellow at the Rockefeller Study Center in Bellagio, Italy, Liguria Foundation in Bogliasco, Italy, and at the Center for Humanistic Inquiry at Emory University. In 1998 he received the Mayor’s Fellowship in the Arts, awarded by the City of Atlanta, the city’s highest recognition of artistic achievement. In addition to substantial experience conducting opera and orchestral repertoire, he has presented over 200 works of contemporary music as conductor of Thamyris New Music Ensemble in Atlanta since 1992. His doctoral degree in composition is from the University of Illinois studying with Salvatore Martirano. He also studied composition with Sir Peter Maxwell Davies and Witold Lutoslawski at Dartington Hall in England and has received foundation support for music study in Bali, Java, and India. He served as chair of the Department of Music and interim director of the Center for Humanistic Inquiry at Emory University.
Leslie Taylor, stage designer
Leslie Taylor, the inaugural director of the Center for Creativity & Arts in Emory College, has extensive experience in teaching, design and management. She has designed sets and costumes for over 100 productions. Currently Chair of the Theater Studies Program at Emory University, she also served as the Artistic Director for Theater Emory's 2000-2001 season. She is the resident designer for Theater Emory, and has designed for the GA Shakespeare, the Center for Puppetry Arts, the Alliance Theater, Georgia Ensemble Theater, and Theatri
Youtube results:
8:27
Witold Lutoslawski - Piano Sonata: Adante - Allegretto
This is Lutoslawski's Sonata for Piano, 3rd part: Adante - Allegretto performed by Glo...
published: 27 May 2010
Author: ScriabinFanatic
Witold Lutoslawski - Piano Sonata: Adante - Allegretto
This is Lutoslawski's Sonata for Piano, 3rd part: Adante - Allegretto performed by Gloria Cheng
4:17
Witold LUTOSLAWSKI "Funeral music" (1/2)
CAMERATA BERN Leader: Antje Weithaas 8. 9. 2010 Fuenral music for string orchestra, in rem...
published: 24 Aug 2010
Author: wetubemusic
Witold LUTOSLAWSKI "Funeral music" (1/2)
CAMERATA BERN Leader: Antje Weithaas 8. 9. 2010 Fuenral music for string orchestra, in rememberance of Béla Bartók (1/2)
3:34
Heinrich Schiffi- Sacher Variations by Witold Lutoslawski
Cellist Heinrich Schiff plays Sacher Variations by Witold Lutoslawski...
published: 25 Jul 2007
Author: ctimur
Heinrich Schiffi- Sacher Variations by Witold Lutoslawski
Cellist Heinrich Schiff plays Sacher Variations by Witold Lutoslawski
5:08
Argerich and Kissin play Lutoslawski - Paganini variations Audio + Sheet music
AT THE END, LUTOSLAWSKI SHOULD'VE BEEN MENTIONED AS THE "COMPOSER", NOT SIMP...
published: 18 Aug 2011
Author: madlovba3
Argerich and Kissin play Lutoslawski - Paganini variations Audio + Sheet music
AT THE END, LUTOSLAWSKI SHOULD'VE BEEN MENTIONED AS THE "COMPOSER", NOT SIMPLY AS "ARRANGER". PLEASE APOLOGIZE AND DON'T LEAVE FURTHER COMMENTS ABOUT THIS. THANKS. Witold Lutoslawski's absolutely awesome Paganini Variations for 2 pianos, played by 2 absolutely awesome pianists, Martha Argerich and Evgeny Kissin, live at Verbier festival.
