Lutosławski: Konzert für Orchester ∙ hr-Sinfonieorchester ∙ Marta Gardolińska

[@nobu5818]

ルトスワフスキのオーケストラの為のコンチェルト、初めて聞きました。 素晴らしい曲、素晴らしい技術水準。ブラボー！

[@ВладимирУ-т3ц]

Чудесный концерт в исполнении прекрасного Франкфуртского оркестра!

[@michaelmainusch7237]

Faszinierende Tonsprache, erinnert etwas an Bartok und Hindemith, tolle Musiker 😊

[@ВладимирЗамятин-ц8н]

Как всегда отличное исполнение, отличная запись звука. И ещё одна особенность, за которую люблю FRS - видео концерта, как отдельное произведение искусства.

[@austinhan6998]

First time I heard the piano flourish at the opening downbeat. Loving this performance's transparent texture!

[@gregt2022]

First time hearing- excellent!

[@staffanolofsson8201]

Wonderful consert with folk music inspiration, composed 1951-54. Thank you Marta Gardolinska and hr-Sinfonieorchester!

[@Baribrotzer]

Excellent piece of music, and a long-time personal favorite.

[@wojciechkaamarz6968]

Pięknie dzień mi sie zaczyna. Cudowna muzyka.

[@SilvioNobre]

Exquisite presentation! 💖💖

[@MaxPower-grrl]

Tutta Bravi!

[@LillianKing-d8b]

What an exciting work. I have heard it for the first time and look forward to many more performances.😂

[@farimamosaddegh7586]

Very good ❤

[@peterwhyte-zl1kv]

I like it!

[@balthazartyshow1765]

❤ 🎵 🎶 😊👌 🎶🎵 💜 ♡

[@cywiringwlad]

Wow, there was a section in the first movement that reminded me so much of Caroline Shaw's Observatory...and now having listened to the whole work - there is definitely a sonic connection between this and The Observatory.

[@Keremmmmm]

Waowwww Braviiiii 😍👏👏👏👏👏👏👏👏👏👏👏👏👏👏

[@川口健太郎-m5e]

素晴らしい演奏

[@INTERpEST]

Dude, i would love to have been there🫠

[@cergneuxguillermo1681]

Una delicia este Concierto de Lutoslawski, magistralmente dirigido por la también polaca Marta Gardolinska! Gracias!! Mi permanente admiración por Clara Andrada, una flautista genial!!!! Muy merecido ese largo aplauso final!!!!!!!!! Saludos desde Argentina!

[@LucienMarine]

The Concerto for Orchestra consists of three movements and constitutes the high point of the folk style of Witold Lutosławski's works. Having previously written a series of small folk pieces for various instruments and their combinations, Lutosławski decided to use his experience of stylizing Polish folklore in a more important work. The Concerto for Orchestra differs from these earlier works, not only by its duration, but also because it retains only the melodic themes from folklore. The composer blends them into a different reality, adds atonic counterpoints, and transforms them into neo-baroque forms. If the concerto is however constructed from folkloric material, Lutosławski avoids integrating any quotations, the melodies drawing from folk songs and dances the motivic cells from which he develops his counterpoint. Written in a very accessible language, it combines an irresistible sense of rhythm from the first bars to abundant melodic inspiration. The finale, longer than the two previous movements, returns to the Baroque tradition: passacaglia, toccata and chorale follow one another, in a succession of motifs and timbres as exciting as they are refined. Successor, perhaps in spirit, to that of Béla Bartók, Witold Lutoslawski's Concerto for Orchestra is an orderly and abundant work, rigorous and lyrical, popular and scholarly. *Lucien*

[@Baribrotzer]

It gets some flak for sounding a bit like Bartok, and not sounding all that much like the later, not-so-compromising Lutosławski. But considering when and where Lutosławski wrote the piece - in early Fifties Poland - he might have been under some Eastern Bloc political pressure to work in a folk-based, fairly tonal vocabulary, and not to stray from that. Whether that might be the case or not, it's quite a good piece of music (IMO).

[@michaelthoseby4682]

@@LucienMarine Unfortunately in Iron Curtain countries that was not the case!

[@LucienMarine]

@@michaelthoseby4682 Respect my freedom of expression! This does not mean that I support this totalitarian regime of the USSR. When Lutosławski composed this piece, Stalin was still in power. The latter died in March 1953 after deporting 50 million of his compatriots to the Gulags. Hundreds of artists preferred to flee the Iron Curtain. For the others, two possibilities: starve or format artistically to the Regime. This is the reality of the facts. Who are you to judge me ? After this history lesson: Cleared ! *Lucien*

[@LucienMarine]

@@Baribrotzer Folklore music was not a subject perfidious for the Soviet regime. In addition to works for piano and chamber music, he began to become interested in Polish folklore at the very beginning of the 40s, of which he arranged numerous pieces, a field that he exploited throughout his career for musical education and the dissemination of music Polish. The only censorship is his First Symphony, created in 1948, which, accused of « formalism » was banned during the Stalinist period. Lutosławski did not really suffer from this period compared to other composers. *Lucien*

[@Baribrotzer]

@@LucienMarine ".....Folklore music was not a subject perfidious for the Soviet regime... ...The only censorship is his First Symphony, created in 1948, which, accused of « formalism » was banned during the Stalinist period....." That was exactly my point.

[@DavisTakagi]

Bravo break a leg

[@gerardbegni2806]

I do love all Bartok, but as an exception I prefer this concerto for orchestra than Bartok's one.

[@notarbolz926]

Spannende und ausdrucksstarke Aufführung dieses etwas neoklassizistischen doch meisterhaft komponierten Konzerts mit perfekt vereinigten Tönen aller Instrumente. Die geniale und polnische Dirigentin leitet das hoch funktionelle hr-Sinfonieorchester im veränderlichen doch gut phrasierten Tempo und mit perfekt kontrollierter Dynamik. Wunderschön und atemberaubend zugleich!

[@jestemqiqi7647]

Funktionelle und polnische Aufführung dieses etwas veränderlich doch phrasiert komponierten Konzerts mit spannenden Tönen aller Instrumente. Die spannende und perfekt vereinigte Dirigentin leitet das wunderschöne hr-Sinfonieorchester im atemberaubenden doch genialen Tempo und mit meisterhafter Dynamik. Ausdrucksstark und neoklassizistisch zugleich!

[@Quotenwagnerianer]

Gott was geht ihr mir auf den Sack!

[@hansjuergenkohlhaas871]

@@Quotenwagnerianer Gott sei Dank! Die perfekt vereinigte Sackophonie eines echten Quotenwagnerianers. Und Notär Dö gibt einfach keine Ruhe.

[@notaire2]

Lebhafte und wunderschöne Aufführung dieses einzigartig konstruierten doch perfekt komponierten Meisterwerks mit farbenreichen doch perfekt entsprechenden Tönen aller Instrumente. Der zweite Satz klingt besonders lebhaft und echt beweglich. Der dritte Satz klingt echt inspiriernd und auch bezaubernd. Die Virtuosität aller Einzelspieler ist wahrlich beeindruckend. Die intelligente und geniale Dirigentin leitet das ausgezeichnete Orchester im veränderlichen Tempo und mit künstlerisch kontrollierter Dynamik. Wunderbar vom Anfang bis zum Ende!

[@paulkoza8652]

I have grown to like contemporary composers because many of them have a good knack about featuring many of the instruments in the orchestra long with introducing different musical instrumentation. However, I did not care for this piece at all. It sounded to me lik structured noise - Stravinsky on crack. Sorry.

[@WheezingBobcat]

Really? This piece goes down as easy as Bartok to me. Nothing "noise" about it. I'd give it another shot, if I were you. Also, I wouldn't describe this as contemporary music. It's pretty old at this point.