Witold Lutoslawski. Livre pour orchestre.
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- เผยแพร่เมื่อ 4 พ.ค. 2012
- Orquets RTVE.
Director Günther Herbic.
De 1968 es una de sus obras más divulgadas e interpretadas, Livre pour orchestre (Libro para orquesta), obra que para muchos estudiantes de orquestación ha supuesto un verdadero libro de texto. El gran trabajo desarrollado durante la composición de la Sinfonía nº 2 sirve como arranque para esta nueva obra juntamente al empleo conjunto del contrapunto aleatorio y la escritura compaseada. Lutoslawski comienza a considerar estos dos modos de escritura, 'ad libitum' y 'a battuta', como opuestos, y es sobre esta oposición utilizada de diversas maneras que basa la estructura y los desarrollos no sólo de esta nueva obra sino de la mayoría de las que vendrán después.
Livre pour Orchestre was written in 1968 for the Hagen Orchestra of Westphalia and dedicated to its conductor, Bertold Lehmann. The work is organised into four 'chapters' separated by three interludes (short melodic fragments 'ad libitum' and not conducted). Lutoslawski has said that the music of these interludes is deliberately insignificant, serving merely as points of relaxation for the audience. Each interlude lasts about twenty seconds; the first is scored for three clarinets, the second for two clarinets and harp, and the third for harp and piano.
In the first chapter, the strings predominate with plaintive, questioning glissandi framing an episode for brass and percussion. Chapter 2 is more dynamic: it begins with the glittering sounds of plucked strings and pitched percussion, followed by longer and more loquacious contributions from wind and brass. Chapter 3 incorporates aspects of both the preceding chapters.
Only gradually does one realise that the third interlude, far from being insignificant, is growing into something much larger -- into the final chapter, which emerges as the interlude isntruments (harp and piano) begin to attract those sonorities which began the second chapter. There is a slow release of energy, with the main orchestra gradually taking over and the texture fanning outwards. The individual blocks get shorter and more active, until the whole texture is whipped up into a pulsating, brief scherzo just before the climax. But the climax does not have the last say: while it is still going on, a door is opening on to a new world. Perhaps this lyrical coda for two flutes, accompanied by a strung chorale, is Lutoslawski's 'unanswered question'. - เพลง
An amazing piece! I love it even more than his 3rd symphony.
Lutoslawski, an ingenious orchestrator and extraordinary tone painter, achieves miraculous orchestral effects in this masterwork of the 1960s.
it is true, although Lutosławski achieves in every his single work masterful orchestration effects. He is more like a painter using different colours to paint on an orchestra...maybe he can be seen as an equivalent of Debussy for the sceond half 20th century?
very good
Grandiose and eminent masterpiece of Polish music. It really stands apart.
A very subtle orchestration. Look at the strings playing: most of the time, they are not playing glissando, in spite of what you could think.
Really nice. The orchestration is hardly "dreadful."
I love this piece. Great to be able to see it performed. Thanks so much for posting! 😀
More Modern Masterpieces
@andreyborisov: Which dreadful orchestrations do you have in mind? (perhaps easiest to include timestamps.) I'm afraid that comment needs some backing up.
(maybe you just really dislike strings...)
Sounds like when everyone is practicing their hardest parts right before the concert.
sto leggendo la partitura di questo brano e credo sia piuttosto divertente suonarlo, specialmente lo xilofono a @03:27
Don't judge Livre by this mediocre , under rehearsed performance. It's shameful that this is the only live performance on youtube. The audience's intentional coughing is disgusting.
Well, I just do not agree.
Dreadful orchestration.