Finnish Radio TV Symphony Orchestra - Hannu Lintu (cond.) Recorded live in concert on XXIII.X.2015 at the Symphony Hall, Helsinki Music Centre, Töölönlahti, Helsinki.
I first heard this symphony at a Chicago Symphony concert conducted by Sir Georg Solti, in the mid 1980s. As a teenage musician from Wisconsin, I had not heard much music like this before. That this world-class orchestra was presenting this avant-garde music in the ultra-sophisticated setting of Orchestra Hall, where I sat with my classmates on a school orchestra field trip, with the perfume and cologne of wealthy Chicagoans wafting through the air, made a huge impression on me. This was something new, being embraced by the establishment - what an exciting world! I do remember some audience members leaving during this piece, but I was riveted, and have been a fan of Lutoslawski ever since.
Similar story - I heard a radio broadcast of the premiere - Chicago Symphony conducted by Sir Georg Solti, September 1983. My teenage mind was blown. Flash forward to 1986, the composer comes to Australia and conducts the Third Symphony. One of the seminal musical experiences of my life.
when i was 'confronted with this Masterpiece conducted by Leonard Slatkin, the New York Philharmonic Orchestra i was stunned, mesmerized and, turned humble. three-quarters of the public walked out. i felt so ashamed that the next day i wrote a (hand-written) letter to sir Slatkin. thanking him for what he had given to me. The Pure Passion of Love in an intellectual but, foremost Humain Form of never to overcome if one thinks better of him/her self
The way this is beyond of whatever I've ever heard, but at the same time it's so relatable with something known, it's just amazing! Great conductor, wonderful orchestra!!
It’s a hell of a ride. From its old fashioned "wake up" tutti to its spectacular climax this symphony is an exhilarating eargasm. Who cannot be tempted to pick up the nearest "baton" (pencil) for the ‘benefit of the orchestra’ and beat out the last bars from 31" - then bow to take all the credit!
Almost all film composer were inspired by Lutoslawski, but composers don't talk about him enough. you can hear a lot of effective modern music orchestration writing like this in Matrix, Alien or any film. if art starts with honesty and conscience; Lutoslawski, the composer who changed orchestration forever.
Another "must have" means of expression of a renowned film composer is "the chord of horror" of Pendereckian descent :D In general, good "cinema music" is built upon XIX Cenury music but with many means taken from 20th Century music - not only Polish of course but also, I think: Ligeti, Xenakis, Octavian Nemescu who died last year. Then Shostakovich and the whole minimalism.
@@TolgaBedirVideos Interesting ideas :D I'm not a composer however, I'm probably an especially knowledgeable listener - once I wrote some essays and one of really outstanding, old composers (CD Georgescu) told me that my essay on his music was the best one ever written. Coming back to Lutosławski: the analysis of his works was actually the basis for the study of composition in Romania (Nemescu told me that). Of course, Lutosławski was much more than one of the many composers of the 20th century. What's more - in fact, the favorite Polish composer of Romanians (Romanian composers) was Zygmunt Krauze: D
Great performance! I saw the premiere of Lutoslawski’s 4th Symphony with Essa Pekka Solonen conducting the LA Phil. That was another magnificent performance. Also I am in love with that blonde flutist. 😂
EXcellent conductor for that wonderful symphony, which is built along perect proportions. All the musical "events" are in their due place, and the whole is highly convincing. The rendering is perfect.
i was actually present at this performance in helsinki, my dear friend joszef hars (the redhead) playing horn. i first saw and heard lutoslawski on january 24th 1986 in sheffield with the halle orchestra conducted by the composer; then again january 17th 1990 in london and august 8th 1991 in london (world premiere) "chantefleurs et chantefables". that performance in sheffield (the cello concerto with roman jablonski, conducted by the composer) changed my life. thank you!
A really fantastic peformance and a rendering which was very much inpsired by the spirit of Lutoslawski himself. I saw the composer conduct this piece quite a few times, and those events remain to the biggest experiences of my life. Hopefully Lintu will record the symphony in due time (and perhaps also the other three symphonies!).
Lucky you guys! Esa Pekka-Salonen has recorded a set of all Lutosławski's 4 Symphonies with LA Phil, which I think, has very refined interpretation and execution. The 3rd, in this collection, has more details than the Lutosławski's own recording.
One of the undisputed masters of the latter 20th Century. And this is possibly at the very top of his accomplishment. Now he's dead, his work is not programmed anywhere NEAR the frequency with which we should hear him. And his 4th Symphony is increasingly one of my favorites. I never heard a work of his that didn't intrigue and satisfy me.
I have a deep consideration for this symphony,; but there are so many symphonies in so various styles and forms that I think that we cannot decidewhich is the best or the most innovztive. For sure,, there are a lot of ideas perfectly mastered in, that work.
@@gerardbegni2806 C'est certain ! Cet enthousiasme exagéré que l'on note très souvent dans ce type de commentaire est ressenti comme trop entier bien sûr mais je pense qu'il s'agit d'un simple emballement ponctuel pour la grande majorité. J'ai quand même eu du fil à retordre avec certains qui n'en démordaient pas. Cela arrive....
@@PaulVinonaama You are perfectly right, but actually these pieces are not symphonies, but independent pieces. We can roughly distinhuish three "periods". In the beginning, pieces like "pithoprakta" mudt usually consider the musical sould as a random event, which he submits to specific statistical laws. This is the Reason why it was easier for him to use computers as random generators, a practice that was largely misunderstood and heavily criticized. In a medim term period, he introduces several attractive techniques like "arborescences", and wrote such pieces as 'lichens" or "jonchaies" (those which I personally prefer). In its last period, the style becomes more massive; sometimes, he reuses a fragment of a piece within an other one; this includes pieces as "Kyania".
Now the passionate and often agressive debate between progressists such as theso-called 'Darmstadtl' composers, Xenakis, etc. and other, more 'conservative' composers is over, and we may appreciate in a depassionate way the works of such composers as Dutilleux, Lutoslawski, Schnittke, and so many otherrs/ Lutoslawski apperas moe re and more as a leading figure, and his third sympkony as one of his keyworks beginning by fortissimo which seems to be commentated by the orchestra.The same process is repeated several times. A sort of development takes place, always with sprase brutal events varied in nature. After a last outburst, the tempo and the style chnges. The role of instrumental soli must be underlined. . A new and slower section takes place., leading to a new climax. A silence launches the movement again, in a slow tempo, which lasts up to the end, after an orchestral crescendo and a recall pof the first fortissimo. . This is indeed a materpiece. Lutoslawski never writes two yimes the same form, he renews them for each work.
A very dedicated performance of the greatest symphony of the last 30 years. Lintu is on top of every aspect of this work, and the orchestra plays accordingly. About the work itself, I might quibble about the length of the string fugue which starts midway through the symphony; but for the most part, there is no other contemporary composer who can dramatically sustain a thirty minute work like Lutoslawski. Might I say he was also a master of silence as well.
What you don't get a sense of on a recording of this piece, which you do in live performance, is how the lines "waft" through the orchestra, like a wind blowing through adjacent chimes as it moves about them. The first time I heard this symphony live was with the NY Phil at Lincoln Center, and I was so surprised and charmed by the effect.
I have tried so hard, but I just don't get it. I know I'm supposed to like Lutoslawski's 'mature', 'personal' music and be sneery about the earlier, government sanctioned pieces, but with me it's the other way around. I really like early Lutoslawski (Concerto for Orchestra, Little Suite, Silesian Triptych), but the 'real' Lutoslawski (the symphonies, cello concerto, Mi Parti etc.,etc.) I find impenetrable. Horror film soundtrack music. I can't find anything in it to latch onto.
"I have tried so hard...." Doing what, exactly? "...but I just don't get it." So you thought we'd be interested in your failure, why? "I know I'm supposed to...." By whom? Who supposes that you should do anything of the sort?
I know what you mean, what I found really helpful in learning how to appreciate this music is to really understand how it's constructed and figuring out how to read the score. Then it becomes much more engaging. There is something specific happening here, despite how it might sound. If you understand that, you might enjoy listening to it more. Or maybe you won't enjoy it, and that's okay too.
Try to bin the preconceived model of what “classical” or art music is meant to sound like: in other words try to imagine you were listening in from outer space and had never heard organised sounds like these before. Open your mind ... Then again art has a subjective element and you may never like this piece. That’s OK: just make sure it’s your own belief and not generations of old fogeys telling you what to like in “polite society.”
I first heard this symphony at a Chicago Symphony concert conducted by Sir Georg Solti, in the mid 1980s. As a teenage musician from Wisconsin, I had not heard much music like this before. That this world-class orchestra was presenting this avant-garde music in the ultra-sophisticated setting of Orchestra Hall, where I sat with my classmates on a school orchestra field trip, with the perfume and cologne of wealthy Chicagoans wafting through the air, made a huge impression on me. This was something new, being embraced by the establishment - what an exciting world! I do remember some audience members leaving during this piece, but I was riveted, and have been a fan of Lutoslawski ever since.
I love the way you describe your first experience with this music, including the perfume and cologne:-). wonderful !
Nice story,thanks for sharing.
Nice, evocative story.
Similar story - I heard a radio broadcast of the premiere - Chicago Symphony conducted by Sir Georg Solti, September 1983. My teenage mind was blown. Flash forward to 1986, the composer comes to Australia and conducts the Third Symphony. One of the seminal musical experiences of my life.
when i was 'confronted with this Masterpiece conducted by Leonard Slatkin, the New York Philharmonic Orchestra i was stunned, mesmerized and, turned humble. three-quarters of the public walked out. i felt so ashamed that the next day i wrote a (hand-written) letter to sir Slatkin. thanking him for what he had given to me. The Pure Passion of Love in an intellectual but, foremost Humain Form of never to overcome if one thinks better of him/her self
The way this is beyond of whatever I've ever heard, but at the same time it's so relatable with something known, it's just amazing!
Great conductor, wonderful orchestra!!
Try his Cello Concerto
It’s a hell of a ride. From its old fashioned "wake up" tutti to its spectacular climax this symphony is an exhilarating eargasm. Who cannot be tempted to pick up the nearest "baton" (pencil) for the ‘benefit of the orchestra’ and beat out the last bars from 31" - then bow to take all the credit!
Almost all film composer were inspired by Lutoslawski, but composers don't talk about him enough. you can hear a lot of effective modern music orchestration writing like this in Matrix, Alien or any film. if art starts with honesty and conscience; Lutoslawski, the composer who changed orchestration forever.
I must admit, I can really hear the Matrix in this symphony, particularly near the beginning
Another "must have" means of expression of a renowned film composer is "the chord of horror" of Pendereckian descent :D
In general, good "cinema music" is built upon XIX Cenury music but with many means taken from 20th Century music - not only Polish of course but also, I think: Ligeti, Xenakis, Octavian Nemescu who died last year. Then Shostakovich and the whole minimalism.
@@TolgaBedirVideos Interesting ideas :D I'm not a composer however, I'm probably an especially knowledgeable listener - once I wrote some essays and one of really outstanding, old composers (CD Georgescu) told me that my essay on his music was the best one ever written. Coming back to Lutosławski: the analysis of his works was actually the basis for the study of composition in Romania (Nemescu told me that). Of course, Lutosławski was much more than one of the many composers of the 20th century. What's more - in fact, the favorite Polish composer of Romanians (Romanian composers) was Zygmunt Krauze: D
I noticed a few things in Luto's Concerto for Orchestra that became part of John Williams' regular vocabulary.
Great performance! I saw the premiere of Lutoslawski’s 4th Symphony with Essa Pekka Solonen conducting the LA Phil. That was another magnificent performance. Also I am in love with that blonde flutist. 😂
EXcellent conductor for that wonderful symphony, which is built along perect proportions. All the musical "events" are in their due place, and the whole is highly convincing. The rendering is perfect.
i was actually present at this performance in helsinki, my dear friend joszef hars (the redhead) playing horn.
i first saw and heard lutoslawski on january 24th 1986 in sheffield with the halle orchestra conducted by the composer; then again january 17th 1990 in london and august 8th 1991 in london (world premiere) "chantefleurs et chantefables".
that performance in sheffield (the cello concerto with roman jablonski, conducted by the composer) changed my life.
thank you!
It really is a very emotional piece!! That's what I like most about it!!
The best version of this symphony I've ever heard
A really fantastic peformance and a rendering which was very much inpsired by the spirit of Lutoslawski himself. I saw the composer conduct this piece quite a few times, and those events remain to the biggest experiences of my life. Hopefully Lintu will record the symphony in due time (and perhaps also the other three symphonies!).
I too was fortunate enough to see the Maestro conduct this work with the San Francisco Symphony. It is to my mind his finest essay in the form.
Lucky you guys! Esa Pekka-Salonen has recorded a set of all Lutosławski's 4 Symphonies with LA Phil, which I think, has very refined interpretation and execution. The 3rd, in this collection, has more details than the Lutosławski's own recording.
Best conductor moves I ever saw.
You’re absolutely right!
One of the undisputed masters of the latter 20th Century. And this is possibly at the very top of his accomplishment. Now he's dead, his work is not programmed anywhere NEAR the frequency with which we should hear him. And his 4th Symphony is increasingly one of my favorites. I never heard a work of his that didn't intrigue and satisfy me.
I proclaim this piece the most innovative symphony of the 20th Century.
Beautiful generosity without forgetting other composers like Penderecki or Xenakis ;-)))))
I have a deep consideration for this symphony,; but there are so many symphonies in so various styles and forms that I think that we cannot decidewhich is the best or the most innovztive. For sure,, there are a lot of ideas perfectly mastered in, that work.
@@Protonixum Yeah, Xenakis's symphonies are very innovative.
@@gerardbegni2806 C'est certain ! Cet enthousiasme exagéré que l'on note très souvent dans ce type de commentaire est ressenti comme trop entier bien sûr mais je pense qu'il s'agit d'un simple emballement ponctuel pour la grande majorité. J'ai quand même eu du fil à retordre avec certains qui n'en démordaient pas. Cela arrive....
@@PaulVinonaama You are perfectly right, but actually these pieces are not symphonies, but independent pieces. We can roughly distinhuish three "periods". In the beginning, pieces like "pithoprakta" mudt usually consider the musical sould as a random event, which he submits to specific statistical laws. This is the Reason why it was easier for him to use computers as random generators, a practice that was largely misunderstood and heavily criticized. In a medim term period, he introduces several attractive techniques like "arborescences", and wrote such pieces as 'lichens" or "jonchaies" (those which I personally prefer). In its last period, the style becomes more massive; sometimes, he reuses a fragment of a piece within an other one; this includes pieces as "Kyania".
Witold Lutoslawski ---> Slow, lost, adult kiwi (anagram)
I love this
I saw this performed live last night . . . what an incredible piece!
How lucky you are. I never had the opportunity to hear a piece of Lutosslawski live.
where?
It's a rare thing to hear Lutos live even though you live in Poland :P
Wonderful piece and impressive performance! I really like the atmosphere which is developed in the piece.
The tansparency of this finnish orchestra is quite wonderful, especially considering the way how this symphony is written.
Now the passionate and often agressive debate between progressists such as theso-called 'Darmstadtl' composers, Xenakis, etc. and other, more 'conservative' composers is over, and we may appreciate in a depassionate way the works of such composers as Dutilleux, Lutoslawski, Schnittke, and so many otherrs/ Lutoslawski apperas moe re and more as a leading figure, and his third sympkony as one of his keyworks beginning by fortissimo which seems to be commentated by the orchestra.The same process is repeated several times. A sort of development takes place, always with sprase brutal events varied in nature. After a last outburst, the tempo and the style chnges. The role of instrumental soli must be underlined. . A new and slower section takes place., leading to a new climax. A silence launches the movement again, in a slow tempo, which lasts up to the end, after an orchestral crescendo and a recall pof the first fortissimo. . This is indeed a materpiece. Lutoslawski never writes two yimes the same form, he renews them for each work.
I enjoy this very good performance!!!
@11:15 the head of the double bass looks like a beast!
very passionate! great musicians!
Wunderbar ! , in any Sense .So süß wie unsere Welt
Excellent piece. Great choice.
Symphonie génialisisme et hyper moderne !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
The Great Great Grandchild of Beethoven's Sixth, Lutoslawski's Third Symphony is the soundtrack of the 20th Century Mind.
A very dedicated performance of the greatest symphony of the last 30 years. Lintu is on top of every aspect of this work, and the orchestra plays accordingly. About the work itself, I might quibble about the length of the string fugue which starts midway through the symphony; but for the most part, there is no other contemporary composer who can dramatically sustain a thirty minute work like Lutoslawski. Might I say he was also a master of silence as well.
What you don't get a sense of on a recording of this piece, which you do in live performance, is how the lines "waft" through the orchestra, like a wind blowing through adjacent chimes as it moves about them. The first time I heard this symphony live was with the NY Phil at Lincoln Center, and I was so surprised and charmed by the effect.
Nice performance of this venerable piece
Very good performance
muchísima tensión en la música, tensión con intensión
These are all very good looking musicians
They are mostly Finns, and they are good looking. As a Finn, I should know ;)
Good!!!
La influencia del concierto para orquesta de Bela Bartok palpable.
21:14
The sound of the weeping angels
WOW
21:13 you're welcome
And, at 3:11, a perfectly placed, accurately in-time, "KEFF!!", from some flu-sufferer in the audience.
Oooh, at the last cue, the conductor did 3 pre-counts!! (lol) Of course, it is necessary to synchronize the last 4 beats.
Why do the bassoonists have some sort of head/neck apparatus that looks like it belongs in F1? :)
I'm guessing it's to block some of the sound from the trombones behind them
ビキビキ〜ん
12:11
牛逼
I have tried so hard, but I just don't get it. I know I'm supposed to like Lutoslawski's 'mature', 'personal' music and be sneery about the earlier, government sanctioned pieces, but with me it's the other way around. I really like early Lutoslawski (Concerto for Orchestra, Little Suite, Silesian Triptych), but the 'real' Lutoslawski (the symphonies, cello concerto, Mi Parti etc.,etc.) I find impenetrable. Horror film soundtrack music. I can't find anything in it to latch onto.
"I have tried so hard...."
Doing what, exactly?
"...but I just don't get it."
So you thought we'd be interested in your failure, why?
"I know I'm supposed to...."
By whom? Who supposes that you should do anything of the sort?
My kids love this music, they just like to hear when it sounds :)
Event since minute 29.? Strange... try but not "harder". Maybe the oppisite: lighter :)
I know what you mean, what I found really helpful in learning how to appreciate this music is to really understand how it's constructed and figuring out how to read the score. Then it becomes much more engaging. There is something specific happening here, despite how it might sound. If you understand that, you might enjoy listening to it more. Or maybe you won't enjoy it, and that's okay too.
Try to bin the preconceived model of what “classical” or art music is meant to sound like: in other words try to imagine you were listening in from outer space and had never heard organised sounds like these before. Open your mind ... Then again art has a subjective element and you may never like this piece. That’s OK: just make sure it’s your own belief and not generations of old fogeys telling you what to like in “polite society.”
vassiez
10:09 trumpet sole enter wrong place
No it didn't. And that's an oboe.
.
trochę nudne
all i hear is noise
Its like sucking alum.
I actually got scared when I heared this first as a kid...still also brings a lot of horro pictures to my mind...the end was glorious though
Even at 7:00 - 7:30? and later on (henceforth :P
There's so much of clear, solid musical substance! OK, some "noise" too :P
Did you note the 2 pianos this work is needing?
Cause you have no talent.