After the success of the Concerto, Lutoslawski spent four years completing the fifteen-minute long Funeral Music for strings. Based loosely on the twelve-tone system, it reflects the influence of Pierre Boulez and other serial composers.
The work is not of the caliber of the Concerto, to put it mildly. I enjoy the shorter "Venetian Games" more - it is an "aleatoric" piece meaning that the music can be re-arranged at will by the performers, making each separate rendition very different for full orchestra that is clearly influenced by Boulez, Anton Webern and the more pointillistic, delicate side of post-WW serialism.
But the "Venetian Games" will be attractive to contemporary music aficionados only. This performance by prominent Polish conductor Witold Rowicki and the Warsaw Symphony is successful and worth hearing.
As it happens, Lutoslawski wrote the Concerto for Rowicki so it forms a musical document. The sound is actually quite good, with some tape hiss, but with good detail and accurate tone colors. One person found this helpful. See all reviews. There's a problem loading this menu right now. Learn more about Amazon Prime. Get free delivery with Amazon Prime. Back to top. The printed score gives crotchet equals 74, which is extremely slow, but I thought that I must follow what it says.
When we rehearsed I could see that the musicians didn't like it at all and in the break the side drum player who starts the movement with a solo came to me and said "Maestro, my part is marked crotchet equals 94", which I thought must be a mistake, since none of the other parts have a tempo marking.
The only way to check was to locate the manuscript and through the courtesy of the Library of Congress in Washington we obtained a copy of the relevant page, which not only clearly showed crotchet equals 94, but a tempo marking of "Allegro scherzando" the printed score gives "Allegretto scherzando".
I was most excited by this, because it becomes a quite different piece. I have no doubt that thousands of performances, including my own up to now, have been given at the wrong speed! Reiner had known Bartok since , when they were fellow students at the Budapest Academy. And years later, in , it was Reiner, along with Joseph Szigeti, who persuaded Serge Koussevitsky to commission Bartok to write the Concerto for Orchestra.
The movement revolves around three themes which derive primarily from the first movement. The theme is itself interrupted by glissandi on the trombones and woodwinds. In this movement, the timpani are featured when the second theme is introduced, requiring 10 different pitches of the timpani over the course of 20 seconds.
The fifth movement, marked presto , consists of a whirling perpetuum mobile main theme competing with fugato fireworks and folk melodies. However, the manuscript clearly labels it as Presentando de coppie Presentation of Couples. In this movement, pairs of bassoons, oboes, clarinets, flutes, and muted trumpets each present their own melodies separated by fixed intervals. After a chorale by the remaining brasses, each pair returns—this theme with their melodies embellished by additional instruments.
The following movement is a simple intermezzo with two alternating folk-like melodies. The clarinet is, in turn, greeted by jeers from the trombones, a repetition of the theme in the style of a German band, and a final parody by the tuba.
The final movement begins with a brilliant horn call followed by a theme which is presented in the strings and then subjected to every imaginable contrapuntal device. The Intermezzo Interroto is a brief measures. Your transaction is secure.
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Add all three to Cart. Well-known as a pianist and ethnographer, he was all-but unknown as a composer, and he expressed little interest in changing that dour scenario. He toured as a pianist, made some recordings for Columbia, and undertook some teaching ventures. Only as his health began to fail he was later diagnosed with leukemia did he return to composing. His final revision, extending the finale, was undertaken in February In his lifetime, he was among its most obscure. During its first ten years of life, , audiences around the world were treated to over performances of the Concerto.
Photos from the six hour recording session at the Grand Ballroom of the Manhattan Center in December depict Boulez entirely circled by musicians. Not only was his technical virtuosity enjoyable, but his adaptation to this unique and unfamiliar situation was a truly outstanding achievement.
Yes they can , on a recording whose sole purpose is to clarify and intensify the musical experience. Not so here.Apr 24, · I. Introduzione. Andante non troppo; Allegro vivace II. Giuoco delle coppi. Allegretto scherzando III. Elegia. Andante non troppo IV. Interme.